(Neoclassicism & Romanticism){Neoclassicism [continued (18)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:41][19910512:1718cd](Neoclassicism & Romanticism){Neoclassicism [continued (18)]}[Extracts from source text with ms notes][12th May 1991]

19910512.1718

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‘In 1810 the marble frieze from the Parthenon in Athens, which had been brought to England by Lord Elgin, was exhibited in London. This frieze initiated a new idea of ancient sculpture, one opposed to the original strict rules of Neoclassicism. Some artists and scholars refused to accept the frieze as a genuine example of classical Greek works; for others, like Canova, who visited London in 1815, the frieze was a revelation. It was realized, almost for the first time, that ancient sculpture was not exclusively designed in terms of the static, compact outlines first described by Winckelmann. The Greeks had also created vital surface textures which conjured dramatic events. European sculptors were subsequently divided in the approach to the recreation of antique ideals; those like Thorvaldsen continued to produce cool, statuesque figures, while new experiments in sculpture appeared from other Neoclassical masters’

*

*– ibid [Encyclopaedia of Visual Art 4:] 743-744

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