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History --- Antique, the --- Ideal, the --- art history --- art theory --- Art --- aesthetics --- Winckelmann, Johann Joachim --- History as a science --- Beeldhouwkunst [Griekse ] --- Male nude in art --- Mannelijk naakt in de kunst --- Nu masculin dans l'art --- Sculpture [Greek ] --- Sculpture grecque --- Aesthetics, German --- Sculpture, Greek --- Esthétique allemande --- Historiography --- Historiographie --- Winckelmann, Johann, --- human figures [visual works] --- nudes [representations] --- Esthétique allemande --- Aesthetics --- Aesthetics [German ] --- 18th century --- Winckelmann, Johann Joachim, - 1717-1768 - Aesthetics. --- Aesthetics, German - 18th century. --- Male nude in art. --- Sculture, Greek. --- antieke beeldhouwkunst --- ideale schoonheid

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Art --- paintings [visual works] --- sculpture [visual works] --- assemblages [sculpture] --- happenings --- politics --- realism [artistic form of expression] --- Abstract [modern European style] --- Brutalist --- Nouveau Réalisme --- performance art --- experimentation --- art theory --- kunst en politiek --- social criticism --- Pop [fine arts styles] --- anno 1900-1999 --- Europe --- North America

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The book begins in the late eighteenth century, when a systematic formal distinction began to be made between painting and sculpture. Following changing attitudes toward sculpture through the nineteenth and twentieth centuries, Potts analyses for the first time the radical transformation that has occurred not only in the nature of sculptural works but also in their display and reception. He focuses on a broad range of texts by major writers who have in some way been obsessed by sculpture, including Johann Gottfried Herder, Charles Baudelaire, Walter Pater, Rainer Maria Rilke, Carl Einstein, Adrian Stokes and Clement Greenberg, and such artist-theorists as Adolf Hildebrand and Donald Judd.Potts also offers a detailed view of selected iconic works by sculptors ranging from Antonio Canova and Auguste Rodin to Constantin Brancusi, David Smith, Carl Andre, Eva Hesse and Louise Bourgeois - key players in modern thinking about the sculptural. The impact of minimalism features prominently in this discussion, for it disrupted accepted understanding of how a viewer interacts with a work of art, thereby placing the phenomenology of viewing three-dimensional objects for the first time at the center of debate about modern visual art.

Modernist --- art theory --- sculpture [visual work] --- figurative art --- Sculpture --- Minimal --- Nauman, Bruce --- Caro, Anthony --- Maillol, Aristide --- Canova, Antonio --- Andre, Carl --- Serra, Richard --- Chamberlain, John --- Judd, Donald --- González, Julio --- Giacometti, Alberto --- Carpeaux, Jean-Baptiste --- Smithson, Robert --- Newman, Barnett --- Bourgeois, Louise --- Hesse, Eva --- Whiteread, Rachel --- Rodin, Auguste --- Morris, Robert --- Smith, David --- Baselitz, Georg --- Duchamp, Marcel --- Moore, Henry --- LeWitt, Sol --- Hepworth, Barbara --- Tatlin, Vladimir --- Brancusi, Constantin --- Beeldhouwkunst ; theorie --- Kunsttheorie ; kunstbeschouwing ; beeldhouwkunst --- Beeldhouwkunst ; Antonio Canova --- Essays ; Rainer Maria Rilke ; over Rodin --- Beeldhouwkunst ; 20ste eeuw ; Constantin Brancusi --- Kunstfilosofie ; Maurice Merleau-Ponty --- Beeldhouwkunst ; installaties ; Louise Bourgeois --- 73.01 --- Beeldhouwkunst ; theorie, filosofie, esthetica --- Appreciation. --- sculpture [visual works] --- Appreciation

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Sculpture, Modern

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Sculpture --- prints [visual works] --- sculpture [visual works] --- bronze [metal] --- iron [metal] --- wood [plant material] --- Puryear, Martin