Since before the myth of Pygmalion bringing a statue to life through desire, artists have used sculpture to explore the physical materiality of the body. This groundbreaking volume examines key sculptural works from thirteenth-century Europe to the global present, revealing new insights into the strategies artists deploy to blur the distinction between art and life. Three-dimensional renderings of the human figure are presented here in numerous manifestations, created by artists ranging from Donatello and Edgar Degas to Kiki Smith and Jeff Koons. Featuring works created in media both traditional and unexpected—such as glass, leather, and blood—Like Life presents sculpture by turns conventional and shocking, including effigies, dolls, mannequins, automata, waxworks, and anatomical models. Texts by curators and cultural historians as well as contemporary artists complete this provocative exploration of realistic representations of the human body. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

Popularizing National Pasts is the first truly cross-national and comparative study of popular national histories, their representations, the meanings given to them and their uses, which expands outside the confines of Western Europe and the US. It draws a picture of popular histories which is European in the full sense of this term. One of its fortes is the inclusion of Eastern Europe. The cross-national angle of Popularizing National Pasts is apparent in the scope of its comparative project, as well as that of the longue durée it covers. Apart from essays on Britain, France, and Germany, the collection includes studies of popular histories in Scandinavia, Eastern and Southern Europe, notably Romania, Bulgaria, Croatia, Armenia, Russia and the Ukraine, as well as considering the US and Argentina. Cross-national comparison is also a central concern of the thirteen case studies in the volume, which are, each, devoted to comparing between two, or more, national historical cultures. Thus temporality –both continuities and breaks- in popular notions of the past, its interpretations and consumption, is examined in the long continuum. The volume makes available to English readers, probably for the first time, the cutting edge of Eastern European scholarship on popular histories, nationalism and culture.

In this original and widely researched book, Billie Melman explores the culture of history during the age of modernity. Her book is about the production of English pasts, the multiplicity of their representations and the myriad ways in which the English looked at history (sometimes in the most literal sense of 'looking') and made use of it in a social and material urban world, and in their imagination. Covering the period between the Napoleonic Wars and the Coronation of 1953, Melman recoups the work of antiquarians, historians, novelists and publishers, wax modellers, cartoonists and illustrators, painters, playwrights and actors, reformers and educationalists, film stars and their fans, musicians and composers, opera-fans, and radio listeners. Avoiding a separation between 'high' and 'low' culture, Melman analyses nineteenth-century plebeian culture and twentieth-century mass-culture and their venues - like Madame Tussaud's Chamber of Horrors, panoramas, national monuments like the Tower of London, and films - as well as studying forms of 'minority' art - notably opera. She demonstrates how history was produced and how it circulated from texts, visual images, and sounds, to people and places and back to a variety of texts and images. While paying attention to individuals' making-do with culture, Melman considers constrictions of class, gender, the state, and the market-place on the consumption of history. Focusing on two privileged pasts, the Tudor monarchy and the French Revolution, the latter seen as an English event and as the framework for narrating and comprehending history, Melman shows that during the nineteenth century, the most popular, longest-enduring, and most highly commercialized images of the past represented it not as cosy and secure, but rather as dangerous, disorderly, and violent. The past was also imagined as an urban place, rather than as rural. In Melman's account, City not green Country, is the centre of a popular version of the past whose central Images are the dungeon, the gallows, and the guillotine.

This book analyzes and discusses in detail art therapy, a specific tool used to sustain health in affective developments, rehabilitation, motor skills and cognitive functions. Art therapy is based on the assumption that the process of making art (music, dance, painting) sparks emotions and enhances brain activity. Art therapy is used to encourage personal growth, facilitate particular brain areas or activity patterns, and improve neural connectivity. Treating neurological diseases using artistic strategies offers us a unique option for engaging brain structural networks that enhance the brain’s ability to form new connections. Based on brain plasticity, art therapy has the potential to increase our repertoire for treating neurological diseases. Neural substrates are the basis of complex emotions relative to art experiences, and involve a widespread activation of cognitive and motor systems. Accordingly, art therapy has the capacity to modulate behavior, cognition, attention and movement. In this context, art therapy can offer effective tools for improving general well-being, quality of life and motivation in connection with neurological diseases. The book discusses art therapy as a potential group of techniques for the treatment of neurological disturbances and approaches the relationship between humanistic disciplines and neurology from a holistic perspective, reflecting the growing interest in this interconnection.

Our bodies record what happens to us physically throughout our lives. This is illustrated by the simple appearance of scars from injuries sustained years, and even decades ago. Evidence such as scars also tells us how we used our joints or may have injured them as children and adults. Our bodies conform to the environment in which we live, both outside and inside. By examining and observing these key clues, a forensic investigator can reveal the unique character that tells the story of a person's life and death. Craniofacial Anatomy and Forensic Identification is an atlas that covers all aspects of facial reconstruction and anatomy of the head and neck, such as facial expression and the anatomic basis for facial development, along with the effects of muscle movement. Written by a world-renowned forensic artist with decades of experience as a scientific illustrator as well as a portraitist, anthropologist, and lecturer in anatomy and biology, the author is as much a scientist as an artist. - Comprehensively addresses the history o facial reconstruction, facial development, muscle movements, and bone physiology used by forensic artists and forensic anthropologists - Demonstrates techniques in mold making and sculpting to bring the body to life - Includes images from cadaver labs and recent case studies - Provides detailed anatomy of vessels and nerves found in the face including the eyes - Details the muscles, ligaments and tissues down to the skull - Describes the changing face as it ages

Now that '3-D models’ are so often digital displays on flat screens, it is timely to look back at the solid models that were once the third dimension of science. This book is about wooden ships and plastic molecules, wax bodies and a perspex economy, monuments in cork and mathematics in plaster, casts of diseases, habitat dioramas, and extinct monsters rebuilt in bricks and mortar. These remarkable artefacts were fixtures of laboratories and lecture halls, studios and workshops, dockyards and museums. Considering such objects together for the first time, this interdisciplinary volume demonstrates how, in research as well as in teaching, 3-D models played major roles in making knowledge. Accessible and original chapters by leading scholars highlight the special properties of models, explore the interplay between representation in two dimensions and three, and investigate the shift to modelling with computers. The book is fascinating reading for anyone interested in the sciences, medicine, and technology, and in collections and museums.