Description

This book argues that we need to include the decorative in the study of sculpture, in order to present a more accurate account of the practice of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers. By contesting the false separation of art from industry, Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.

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