Conference Presentations by Tomas Macsotay
Deadline abstracts: 11 April 2022
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Single-authored Books by Tomas Macsotay
In this richly illustrated book, Tomas Macsotay focuses on the sculptor’s life at the Académie ro... more In this richly illustrated book, Tomas Macsotay focuses on the sculptor’s life at the Académie royale de peinture et de sculpture, exploring the protocols that dictated the production of academic art. Macsotay also reconsiders the demise of the Académie during the Revolution, when outside events exacerbated tensions between personal autonomy and institutional authority.
*Winner of the Prix Marianne Roland Michel 2009 (Institut de France)*
‘A highly original book […] Macsotay’s study should be required reading for anyone concerned with the role of the Académie in eighteenth-century French art.’
Malcolm Baker, University of Riverside, California
February 2014, 978-0-7294-1079-3, xxii+360 pages, 90 ills
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Edited Volumes and Guest Editing by Tomas Macsotay
Cultural History, vol. 8, no.1, 2019
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Reviews: 'This important collection of essays by an international team of scholars sheds new ligh... more Reviews: 'This important collection of essays by an international team of scholars sheds new light on Rome’s emergence as an international center of sculptural production and consumption at the period spanning the end of the eighteenth-century through the defeat of Napoleon. Their research takes us inside the studios of artistic giants like Canova and Thorvaldsen as well as of a host of lesser-known figures who made Rome Europe’s sculpture capital par excellence. Together, the authors reveal the Eternal City as a cosmopolitan community of patrons and practitioners whose interactions led to technical breakthroughs, stylistic innovations, and lofty claims for the centrality of sculpture to modern life.'
Jeffrey Collins, Bard Graduate Center, USA
'Comprised of archivally rich analyses, this volume traces the myriad forces that ensured Rome's ascendance as the capital of European sculpture in the late-eighteenth and early-nineteenth centuries. Essays chart an expanded topography of sculptural networks, drawing together luminaries like Canova, Cavaceppi, and Flaxman; the specialized tradesmen and assistants whose work was integral to the business of sculpture; and aesthetic interlocutors in the guise of patrons, scholars, and museum personnel. Bringing new life to the material and theoretical lives of sculpture, its makers and audiences, the volume significantly expands our appreciation of the interlinked histories of sculptural restoration, production, and consumption that underwrote a Roman dialectic of ancient and modern.'
Sarah Betzer, University of Virginia, USA
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Relevant Chapters and Articles by Tomas Macsotay
Espacio Tiempo y Forma. Serie VII, Historia del Arte
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Cultural History, vol. 8, 2019, no.1, pp. 43-69, 2019
As new histories of the public execution are published, cultural perceptions of crowds are again ... more As new histories of the public execution are published, cultural perceptions of crowds are again enjoying scholarly interest. This contribution evaluates the role to be played by visual culture in crowd culture, weaving an account that draws from a closer analysis of live visual relations to explain both crowd impulses and its afterimages. A visually structured history can be navigated in order to examine the murder on 20 August 1672 of Jan and Cornelis de Wit at the hands of a street crowd, a determining event in the Dutch ‘disaster year’ of 1672. Giving close examination to contemporary prints, a drawing and a play, the contribution makes two overarching observations: first, that a Christological reading of the execution site strongly informed all of the after-images of the murders. Moreover, sacredness worked as a schema for the mob's own part during the tragedy. Second, the crowd's behaviour followed a pattern of structured theatricality and merriment that is best understood in the context of historical disturbance culture. The Dutch crowds of 1672 offered a double bill of religious and secular visual logics, blurring the limits of a judicially ordered punishment and producing in the tacit testimonies examined here a marked affective response.
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Cultural History vol. 8, no.1, pp. 1-6, 2019
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in: V. Mainz, E. Stafford (eds.), Exemplary Hercules (Leiden: Brill, forthcoming), 2019
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in: Carl Magnusson, Matthieu Lett, Léonie Marquaille (eds.), Décor et architecture (XVIIe - XVIIIe siècle) : entre union et séparation des arts, New York: Peter Lang, 2019, 2019
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ARTES/ACAF: Estudis en Art Modern , 2018
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Actes de Colloque « La réproduction » IAWIS/AIERTI, Lausanne , 2018
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in: Serenella Rolfi, Artistic Correspondences: Rome and Europe in the 18th and 19th centuries , 2018
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Sculpture Journal, 2018
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Sculpture Journal, 2018
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Architectural Histories , 2018
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in : Emilie Saiello, Laurent Châtel, Elisabeth Martichou (eds.) Ecrire et peindre le paysage (1750-1825): la littérature artistique sur le paysage en France et en Angleterre (Rennes : Presses Universitaires de Rennes, 2018), pp. 211-34, 2018
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Conference Presentations by Tomas Macsotay
Single-authored Books by Tomas Macsotay
*Winner of the Prix Marianne Roland Michel 2009 (Institut de France)*
‘A highly original book […] Macsotay’s study should be required reading for anyone concerned with the role of the Académie in eighteenth-century French art.’
Malcolm Baker, University of Riverside, California
February 2014, 978-0-7294-1079-3, xxii+360 pages, 90 ills
Edited Volumes and Guest Editing by Tomas Macsotay
Jeffrey Collins, Bard Graduate Center, USA
'Comprised of archivally rich analyses, this volume traces the myriad forces that ensured Rome's ascendance as the capital of European sculpture in the late-eighteenth and early-nineteenth centuries. Essays chart an expanded topography of sculptural networks, drawing together luminaries like Canova, Cavaceppi, and Flaxman; the specialized tradesmen and assistants whose work was integral to the business of sculpture; and aesthetic interlocutors in the guise of patrons, scholars, and museum personnel. Bringing new life to the material and theoretical lives of sculpture, its makers and audiences, the volume significantly expands our appreciation of the interlinked histories of sculptural restoration, production, and consumption that underwrote a Roman dialectic of ancient and modern.'
Sarah Betzer, University of Virginia, USA
Relevant Chapters and Articles by Tomas Macsotay
*Winner of the Prix Marianne Roland Michel 2009 (Institut de France)*
‘A highly original book […] Macsotay’s study should be required reading for anyone concerned with the role of the Académie in eighteenth-century French art.’
Malcolm Baker, University of Riverside, California
February 2014, 978-0-7294-1079-3, xxii+360 pages, 90 ills
Jeffrey Collins, Bard Graduate Center, USA
'Comprised of archivally rich analyses, this volume traces the myriad forces that ensured Rome's ascendance as the capital of European sculpture in the late-eighteenth and early-nineteenth centuries. Essays chart an expanded topography of sculptural networks, drawing together luminaries like Canova, Cavaceppi, and Flaxman; the specialized tradesmen and assistants whose work was integral to the business of sculpture; and aesthetic interlocutors in the guise of patrons, scholars, and museum personnel. Bringing new life to the material and theoretical lives of sculpture, its makers and audiences, the volume significantly expands our appreciation of the interlinked histories of sculptural restoration, production, and consumption that underwrote a Roman dialectic of ancient and modern.'
Sarah Betzer, University of Virginia, USA