With approximately 50 works on display, this exhibition examines the history of polychrome sculpture
in quattrocento Florence.
In between the two is a polychrome sculpture
by Juan Martinez Montanes (painted by Pacheco).
Highlights include a 15th-century polychrome sculpture
of St John by Michael Pacher, on offer at Senger Bamberg Kunsthandel (Fig.
Spanish polychrome sculpture
, unlike the painting of the age, is little known outside Spanish churches.
A polychrome sculpture
attributed to Saint Luke was believed to exist in Sirolo, near Ancona.
VALENTINE WALSH Painting and polychrome sculpture
Writing in 1897, the sculptor Rene de Saint-Marceaux (1845-1915) was able to summarize what was by then commonly held opinion on this particular branch of polychrome sculpture
, namely that it was more modern than 'artificial' polychromy, however clever that was: 'the ceramic medium now greatly preoccupies people working with form; in the art of the fire they have found a permanent process for colouring works, while colours simply applied to stones and marbles, in spite of all the expedients to fix them that have been resorted to, are almost as fragile as pastel, a fragility all the more regrettable as polychromy has often produced exquisite works'.
This two-part exhibition took place in both of Thomas Dane Gallery's spaces: In one presentation, titled "Colour on Fire," Phillip King showed two new polychrome sculptures
; in the other, titled "Ceramics 1995-2017," he displayed thirteen large clay objects.
Colon Mendoza, Ilenia, The Cristos Yacentes of Gregorio Fernandez: Polychrome Sculptures
of the Supine Christ in Seventeenth-Century Spain (Visual Culture in Early Modernity), Farnham, Ashgate, 2015; hardback; pp.
Rubin (Curator of Visual Arts, Contemporary Art Center in New Orleans) and King-Hammond present this collection of the art of Willie Birch, whose large-scale drawings and polychrome sculptures
depict a social and ethnic record of African-American culture in New Orleans.
Out of these grew the monumental polychrome sculptures
of his last years.
The exhibition was arranged to allow viewers to explore the relationship between seventeenth century Spanish art and the vivid polychrome sculptures
that served as aids to devotion and prayer.
Reverberations can even be felt in a welling appreciation for a once-scorned art of centuries past, the hyperrealist polychrome sculptures
of the Spanish baroque, with their real hair and fake tears.
The show travelled to the National Gallery of Art, Washington, the following year and brought attention to a long neglected area of art history: the passionately expressive, hyperreal polychrome sculptures
of Counter-Reformation Spain.