LEADER 05080nam 22005171c 450 001 9910511471903321 005 20200115203623.0 010 $a1-5013-3222-8 010 $a1-5013-3220-1 010 $a1-5013-3221-X 024 7 $ahttp://doi.org/10.5040/9781501332227 035 $a(CKB)4100000007009618 035 $a(MiAaPQ)EBC5532060 035 $a(OCoLC)1098039540 035 $a(UtOrBLW)bpp09262898 035 $a(EXLCZ)994100000007009618 100 $a20190412d2019 uy 0 101 0 $aeng 135 $aurun|---uuuua 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aDomenico Brucciani and the formatori of 19th-century Britain $fRebecca Wade 205 $aFirst edition. 210 1$aLondon $aNew York $cBloomsbury Visual Arts $d2019. 215 $a1 online resource (198 pages) 300 $aCompliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily 311 $a1-5013-3219-8 320 $aIncludes bibliographical references and index 327 $a1. Introduction: 'wandering Italians' -- 2. Object lessons -- 3. Exhibitions great and small -- 4. Death masks and dance halls -- 5. Building museum collections of plaster casts -- 6. Epilogue: casting aside 327 $a1. Introduction: 'Wandering Italians' -- 2. Object Lessons -- 3. Exhibitions Great and Small -- 4. Death Masks and Dance Halls -- 5. Building Museum Collections of Plaster Casts -- 6. Epilogue: Casting Aside 330 $a"Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian e?migre? formatori and collaborated with other makers of facsimiles - including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine - to bring sculpture into the spaces of learning and leisure for as broad a public as possible. Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice - making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain - is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond."--Bloomsbury Publishing 330 8 $aBorn near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian e?migre? formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculpture into the spaces of learning and leisure for as broad a public as possible. Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice-making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain-is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond 606 $aPlaster casts 606 $2History of art / art & design styles 606 $aArt and society$zGreat Britain$xHistory$y19th century 615 0$aPlaster casts. 615 0$aArt and society$xHistory 700 $aWade$b Rebecca$g(Rebecca J.),$01067647 801 0$bUtOrBLW 801 1$bUtOrBLW 801 2$bUkLoBP 906 $aBOOK 912 $a9910511471903321 996 $aDomenico Brucciani and the formatori of 19th-century Britain$92551665 997 $aUNINA