LEADER 04179nam 2200589 450 001 9910829016103321 005 20230923095304.0 010 $a0-271-09669-1 024 7 $a10.1515/9780271096698 035 $a(CKB)26872672300041 035 $a(OCoLC)1380732419 035 $a(MdBmJHUP)musev2_113266 035 $a(MiAaPQ)EBC30729065 035 $a(Au-PeEL)EBL30729065 035 $a(DE-B1597)651540 035 $a(DE-B1597)9780271096698 035 $a(EXLCZ)9926872672300041 100 $a20230923d2021 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAnimating the Antique $eSculptural Encounter in the Age of Aesthetic Theory /$fSarah Betzer 205 $aFirst edition. 210 1$aUniversity Park, Pennsylvania :$cThe Pennsylvania State University Press,$d[2021] 210 4$dİ2021 215 $a1 online resource 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tIllustrations --$tAcknowledgments --$tIntroduction Art History, Aesthetics, and the Body After Archaeology --$tChapter 1 Toward an Eighteenth-Century Ontology of Ancient Sculpture --$tChapter 2 Moving Shadows --$tChapter 3 From the Ash to the --$tChapter 4 In the Round --$tCoda Photography, the Rise of Relief, and Nachleben --$tNotes --$tBibliography --$tIndex 330 $aFramed by tensions between figural sculpture experienced in the round and its translation into two-dimensional representations, Animating the Antique explores enthralling episodes in a history of artistic and aesthetic encounters. Moving across varied locations--among them Rome, Florence, Naples, London, Dresden, and Paris--Sarah Betzer explores a history that has yet to be written: that of the Janus-faced nature of interactions with the antique by which sculptures and beholders alike were caught between the promise of animation and the threat of mortification.Examining the traces of affective and transformative sculptural encounters, the book takes off from the decades marked by the archaeological, art-historical, and art-philosophical developments of the mid-eighteenth century and culminantes in fin de sie?cle anthropological, psychological, and empathic frameworks. It turns on two fundamental and interconnected arguments: that an eighteenth-century ontology of ancient sculpture continued to inform encounters with the antique well into the nineteenth century, and that by attending to the enduring power of this model, we can newly appreciate the distinctively modern terms of antique sculpture's allure. As Betzer shows, these eighteenth-century developments had far-reaching ramifications for the making and beholding of modern art, the articulations of art theory, the writing of art history, and a significantly queer Nachleben of the antique.Bold and wide-ranging, Animating the Antique sheds light upon the work of myriad artists, in addition to that of writers ranging from Goethe and Winckelmann to Hegel, Walter Pater, and Vernon Lee. It will be especially welcomed by scholars and students working in eighteenth- and nineteenth-century art history, art writing, and art historiography. 606 $aSculpture, Ancient$xAppreciation$xHistory$y18th century 606 $aSculpture, Ancient$xAppreciation$xHistory$y19th century 606 $aFigure sculpture$xAppreciation$xHistory$y18th century 606 $aFigure sculpture$xAppreciation$xHistory$y19th century 606 $aAesthetics, Modern$y18th century 606 $aAesthetics, Modern$y19th century 615 0$aSculpture, Ancient$xAppreciation$xHistory 615 0$aSculpture, Ancient$xAppreciation$xHistory 615 0$aFigure sculpture$xAppreciation$xHistory 615 0$aFigure sculpture$xAppreciation$xHistory 615 0$aAesthetics, Modern 615 0$aAesthetics, Modern 676 $a732 700 $aBetzer$b Sarah E.$f1972-$01637451 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910829016103321 996 $aAnimating the Antique$93979286 997 $aUNINA