Jane Fejfer – författare

This book explores the multifaceted aspects of sculptor’s workshops from the Renaissance to the early nineteenth century. Contributors take a fresh look at the sculptor’s workshop as both a physical and discursive space. By studying some of the most prominent artists’ sculptural practices, the workshop appears as a multifaced, sociable and practical space. The book creates a narrative in which the sculptural workshop appears as a working laboratory where new measuring techniques, new materials and new instruments were tested and became part of the lived experience of the artist and central to the works coming into being. Artists covered include Donatello, Roubilliac, Thorvaldsen, Canova, and Christian Daniel Rauch.The book will be of interest to scholars studying art history, sculpture, artist workshops, and European studies.

This book explores the multifaceted aspects of sculptor’s workshops from the Renaissance to the early nineteenth century. Contributors take a fresh look at the sculptor’s workshop as both a physical and discursive space. By studying some of the most prominent artists’ sculptural practices, the workshop appears as a multifaced, sociable and practical space. The book creates a narrative in which the sculptural workshop appears as a working laboratory where new measuring techniques, new materials and new instruments were tested and became part of the lived experience of the artist and central to the works coming into being. Artists covered include Donatello, Roubilliac, Thorvaldsen, Canova, and Christian Daniel Rauch.The book will be of interest to scholars studying art history, sculpture, artist workshops, and European studies.

The highest honour a Roman citizen could hope for was a portrait statue in the forum of his city. While the emperor and high senatorial officials were routinely awarded statues, strong competition existed among local benefactors to obtain this honour, which proclaimed and perpetuated the memory of the patron and his family for generations. There were many ways to earn a portrait statue but such local figures often had to wait until they had passed away before the public finally fulfilled their expectations. It is argued in this book that our understanding and contemplation of a Roman portrait statue is greatly enriched, when we consider its wider historical context, its original setting, the circumstances of its production and style, and its base which, in many cases, bore a text that contributed to the rhetorical power of the image.