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In 2001, the European Union sought to harmonise the rules and standards relating to intellectual property law. EU Directive 2001/29 (the 'InfoSoc Directive') listed a number of areas where it is considered desirable to introduce exceptions to the absolute nature of copyright protection, but these exceptions, outlined in Article 5(3), are not mandatory, leaving Member States free to decide whether or not to implement them in their domestic copyright legislation. As a result, there has been great divergence amongst the Member States who have either maintained, implemented or ignored Article 5(3). Since then, however, the huge expansion of the Internet has aggravated some of the issues that the 2001 Directive sought to address. One major cause of concern and confusion relates to the growth of Internet platforms that allow individuals to share photographs. Inevitably, some of the images posted by tourists to show off their travels to friends at home include images of buildings and sculptures located in public places but which may, in some cases be protected by copyright if the artist or sculptor is still living or died less than 70 years ago. In some EU Member States an exception to copyright exists in these circumstances: panoramafreiheit or freedom of panorama permits, in certain circumstances which vary from State to State, the use of images of buildings and sculptures located in public spaces. However, the differences in the scope of the freedom mean that considerable uncertainty exists as to which buildings and sculptures may be freely photographed and which are protected by copyright. Thus, the need for a strong harmonisation of the freedom of panorama was highlighted in a report conducted by Julia Reda in 2015. In response, the European Union has recently decided to bring this controversial issue back to its political agenda. This article examines the challenges created by Article 5 (3) (h) of the EU Directive 2001/29. In addition, it poses the question - is the harmonisation of the freedom of panorama exception really necessary? This paper suggests that it is, in order to put an end to the remaining legal uncertainties. If the European Union plans to create an effective digital market, harmonisation is recommended. [ABSTRACT FROM AUTHOR]

The article presents an introduction to the essay "On Right and Left in Images" by art historian Heinrich Wölfflin, which focuses on the importance of right & left in images, including photographs and painting. Topics discussed include Wölfflin's essays on the problem of photographing sculpture; and Wölfflin's study of art and artistic technique.

The article discusses the reviving nature and the tactility, detail, and scale of sculpture photography. It discusses philosopher Georg Wilhelm Friedrich Hegel's stance on sculpture photography, non-Hegelians concerns on haptic dimensions, and theories of touch by philosophers like Aristotle. It discusses tactility among the lights and shadows, relief for the photographic detail, and scale and punctum which is the gratuitous detail in works like Andrea del Verrocchio's Madonna and Child.

The article examines Czech photographer Joseph Sudek's photographs of works of art and explores methods of working with negatives as a medium of photography. It discusses the benefits as well as disadvantages of digitization of analogue archives of negatives and the period reproductions from negatives. It talks about the photographic reproductions from negatives of Sudek's photographs including those of the sculptures by Josef Wagner, a sculpture of Madonna, and photographs of African Masks.

The article focuses on the Assyrian sculptures in the Mosul Cultural Museum in Iraq during the 2015 attack by the terrorist group Islamic State. It offers an analysis on the number, archaeological significance, and authenticity of these sculptures based on different sources including a series of photographs posted by Suzanne E. Botton on March 2, 2015 on the Iraq Crisis Mailing list. It also looks at the inventory and historical analysis of sculptures.

The author utilizes object relations theories of psychoanalyst Melanie Klein to discuss relationship between the concrete used in the casting of the sculpture “House" by artist Rachel Whiteread, which was demolished and it existence through photographs of the same sculpture. She goes on to discuss the relationship between the photographs, sculpture, family and childhood memories. She also touches upon history of “House" that was located on 193 Grove Road, East London and concept of nostalgia.

An interview is presented with art critic Ben Read that focuses on the topic of Victorian sculpture. Topics discussed include his interest in the work of the sculptor John Gibson, his book "Victorian Sculpture," and the influence that photography of these sculptures had on scholarship of Victorian sculpture.

An interview is presented with Martha Droth, editor of the catalogue accompanying the exhibition "Sculpture Victorious: Art in an Age of Invention, 1837-1901" at the Yale Center for British Art in New Haven, Connecticut from September 11 to November 30, 2014 and at Tate Britain in London, England from February 25 to May 25, 2015. Topics discussed include the role of sculpture in Victorian-era Great Britain, British monuments of the period, and the inclusion of photography of sculptures.

How does photography shape an encounter with sculpture in terms of designating a setting, point of view, and frame? This essay explores how sculptor David Smith responded to this question by deploying unexpected vantage points to frame loose collectives of his sculptures in landscape. Not neutral illustrations, rather these images consitute a public display for sculpture in which objects are dislocated in time and space, opening up a new reading of sculptural autonomy or homelessness in modernism. Situated alongside photographic displays of works by Constantin Brancusi, Henry Moore, Alberto Giacometti, and Louise Bourgeois, Smith’s photographs show that qualities of sitelessness can be construed photographically in addition to being indicated by a sculpture’s surface or pedestal. Smith’s photographs raise questions about the role of public sculpture in the post-war era. Even though he used photography to dramatize his sculpture’s separateness, it is argued that he still held on to the notion of a public using a medium that could be circulated widely. [ABSTRACT FROM AUTHOR]

The article features Hong Kong-born Annie Lai-kuen Wan, who has been creating artworks by moulding for more than twenty years, connecting the reproductive objective to the memory of its original. It discusses Wan's stay in Shigaraki Ceramics Cultural Park in Japan in 2002, the "Monument--Anagama in Shigaraki" exhibition she did in 2003, and her impression of Denmark when she visited the country in 2004. Photographs of some of her creations are also presented.

The article features ceramist Annette Schwarte, who teaches ceramics and organises the course programme at the Fabrik ("The Factory") in Freiburg, Germany. It discusses how her work pays tribute to "printed matter," with both printed and impressed marks on its surfaces. Photographs of some of her creations are also presented including "UFO--Unidentified Flying Object," "Arche-Type," and "Labyrinth."

The article features potter Eric Astoul, who makes thrown and sculptural work and works in the winter months, from September to February, and fires his work in March in a big 7 cubic meter Thai anagama kiln behind his workshop. It discusses how his inquisitive nature, playfulness and intuition allowed him to develop a totally varied approach to working with clay. Photographs of his "Sculpture" creations of various sizes and shapes are also shown.

In 1860, Roger Fenton exhibited a distinctive set of photographic still lifes. Little did viewers of the time know that these would be among his last photographs. Technically accomplished, large in format and expensively priced, the prints of fruit and flowers – some including plaster figurines – stretched the limits of the photographic medium by transforming the look of monochrome. Although in some ways strikingly atypical, in their rendering the ‘black and white’ medium newly commensurate with a popular genre, the sumptuous still lifes perpetuate a vital connection with the medium of sculpture characteristic of Fenton’s earlier photographs. That connection emerges in the propensity of such photographs to petrify – turn to stone as it were – those objects they capture while simultaneously holding their potential for subsequent metamorphosis. Such a quality of transformation, most obviously present in Fenton’s photographs of antiquities in the British Museum, is also at work in his landscapes. Indeed, as the natural world is petrified in his views of north Wales, Fenton highlights the implicit metamorphosis within the apparent stasis, or characteristic immobility, of the photographic image. [ABSTRACT FROM PUBLISHER]

This article focuses on the photographs of public sculptures used onbelle époque picture postcards of Brussels. The subject is approached from two perspectives. Firstly, we analyse the conventions of in situ photography of public sculpture in light of the genre’s reliance on painterly and photographic traditions, as well as its adoption of visual strategies derived from amateur and snapshot photography. Secondly, we explore the role of the photographic mise-en-scène of picture postcards in constructing an ideological as well as visual perspective on public monuments and the cityscape. The in situ photography of urban statues for picture postcards can be regarded as a photographic genre at the intersection of documentary art reproduction practices and amateur photography of the city. Moreover, the picture postcards discussed in this essay confirm and propagate dominant discourses on the monument and the cityscape, even if at the same time such visions were challenged. In the case of Brussels, the postcards demonstrate a preference for a monumental, impressive cityscape, worthy of representing the Belgian nation and capable of legitimising it through views of sculpture as a grand art, serving the worship of grands hommes. [ABSTRACT FROM PUBLISHER]

The editor introduces a special issue of the journal devoted to the topic of how sculpture has affected and expanded the reception and understanding of photography throughout history.

This article focuses on the photographs of sculptures, in particular Raffaelle Monti’s veiled figures, taken by the London Stereoscopic and Photographic Company at the 1862 International Exhibition, to explore the relationship between vision and touch in the appeal of stereographs. Their apparent simplicity as reproductions of works of art belies a rich formal and conceptual complexity that attends to many of the issues raised by the Exhibition and its critics, at the time and since. The appeal of stereographs of sculptures can be conceptualised in the consonance between sculpture and photography as media that relied on mechanical production and reproduction, making the shift from sculpture to stereo one of different iterations rather than translation from one medium to another – both relied on the disavowal of the anonymous, mechanical labour that went into making them. [ABSTRACT FROM PUBLISHER]

This article explores the reasons behind Italian sculptor Medardo Rosso's failure to conceive, secure and realize a monumental commission. After describing the nineteenth-century phenomenon of 'monumentomania', it offers an anthology of the critics' and public's reactions to Rosso's anti-monumental style. It analyses Rosso's experimentation with life-sized figures and his theoretical and technical difficulties in producing them. It also argues that Rosso manipulated the public's perception of the real size of his pieces by photographing them without scale indicators, so that his 'broad' style would make the works appear physically big. It describes how, when Rodin unveiled his Monument to Balzac, Rosso publicly challenged him claiming the authorship of the sculpture's conception. Lastly, it investigates some technical aspects regarding plaster casting and arming. Analysing Rosso's studio photographs, one can notice the absence of proper arming materials and tools, a further fact that would have limited Rosso's capacity to produce a monument. [ABSTRACT FROM AUTHOR]

Photographs and a painting show a della Robbia tondo in a 'bower' attached to Limnerslease, the Surrey home of the Victorian artist and sculptor G. F. Watts. The ceramic disappeared around the time of the death of the artist's widow, Mary Seton Watts, in 1938, and it has not been possible to examine it to find out if it was an original Renaissance Florentine example, or a reproduction. This article estimates the probable date of the gift to Watts, and identifies a possible donor, before revealing that the original design was not by della Robbia but by Santi Buglioni. Three surviving sixteenth-century versions have been traced, and the company which manufactured replicas at the time when Watts was given his tondo. Until it is located and examined, the date and place of manufacture can only be conjecture. [ABSTRACT FROM AUTHOR]

In three ground-breaking articles published in 1896–97 and 1915, which focused primarily on Italian Renaissance sculpture, Heinrich Wölfflin asked: ‘How should one photograph sculpture?’ In trying to answer this question, he became one of the first scholars to consider explicitly the ‘visual historiography’ of art history as a discipline. Following Wölfflin’s lead, this essay uses the photographic and, briefly, prephotographic reproduction of Renaissance sculpture to explore how such images have both reflected and shaped art-historical approaches, from Winckelmann’s illustrated surveys, Wölfflin’s and Malraux’s formalism, Berenson’s connoisseurship, Janson’s monographic interests and Panofsky’s iconology, to more recent socio-historical studies and digital applications. By doing so, this essay hopes to serve as a prolegomenon for further research on the ‘visual historiography’ of art objects made in many other periods, places and media. [ABSTRACT FROM AUTHOR]

An essay is presented on sculptural photography, with a particular focus on photographing artworks from the Italian Renaissance. The author stresses the importance of reproducing sculptures as the artists intended them to appear and suggests techniques for ensuring that the view and lighting in the photograph are correct. Examples include the sculptures "David" by Donatello, "Bust of Pietro Mellini" by Benedetto da Maiano, and "Madonna relief" by Antonio Rossellino.

The article presents abstracts on topics related to art history, including sculptural photography, erotic art, and artist Vanessa Bell.

The article presents information on the photographer Harry Redl. It includes information on Redl's career as a photographer and informs about his interest in taking pictures of paintings and sculptures. It informs that Redl sold his work to various periodicals publishing companies at the beginning of his career and also informs about his growth in the profession through photograph exhibitions.

The article provides photographs of Minsk and Gomel in the Republic of Belarus celebrating their holidays including a female veteran on Victory Day in 2010 in Minsk, the Lenin Statue during the 2010 October Revolution Day in Minsk, and a Romani girl in a cemetery during the Radunitsa Holiday in 2011 in Gomel.

This article presents a group of photographs and other images, most of them little known, which together provide an idea of the appearance of the museum of ancient sculpture that belonged to the Marchese Giovanni Pietro Campana (1808-80), who formed one of the most important private collections of the nineteenth century in Rome. Some of the sculptures were displayed in a gallery in the Campana villa in San Giovanni in Laterano, while others were in the Campana palazzo in Via del Babuino. The new photographs allow us to reconstruct another building devoted to the ancient marbles, in which the Marchese made the sculpture accessible to the public. Moreover, it appears that Campana was in the forefront of the use of photography to reproduce works of art. [ABSTRACT FROM PUBLISHER]

Throughout his career, Hans Bellmer (1902-1975) made photography central to his artistic practice. Among the most notable of Bellmer's photographs are those of his Dolls, sculptural works often placed in elaborate settings to convey narrative intent. While the photographs of the first Doll are mostly archival in nature, those attendant to the second Doll function as artworks in their own right, transcending documentary purposes. The narratives conjured in Bellmer's work are frequently menacing or threatening, alluding to sexual violence and child abuse. While recent scholarship acknowledges the troubling aspects of Bellmer's images, its authors commonly excuse their disquieting effects as a sort of necessary evil, which allowed the artist to expand aesthetic and even erotic borders. Focusing on the decidedly female and clearly youthful status of the Dolls, I argue in this article that Bellmer's art is inherently misogynistic, evidencing pedophilic impulses and a desire to distort and dismember the female body and its representations, as witnessed in the photographs. [ABSTRACT FROM AUTHOR]

An essay is presented on sculptor Eduardo Paolozzi and his 1950 exhibition of sculptures at the Hanover Gallery in London, England, as well as the 1953 exhibition "Parallel of Life and Art," at the Institute of Contemporary Arts in London, England. Topics discussed include the photography of Paolozzi's sculptures by Nigel Henderson, the planning of the "Parallel of Life and Art" exhibit, and critical reception of the Hanover exhibition by critics such as David Sylvester and Reyner Banham.

Several photographs of sculptures are presented, along with its sizes.

The article discusses the highlights of the six-week "Wintersession" period at the Rhode Island School of Design in Providence. The annual event allows faculty and students to undertake experiments. "Photography of Sculpture" was a pioneering course conducted during Wintersession 1993, in which students, faculty members and museum professionals participated to explore the photography of art.

The article features photographs of the Elliot Marbles, also called the Amaravati Marbles, which were in the safe custody of the British Museum in London, England. Collector Walter Elliot was drawn to the marbles while he was Revenue Commissioner of Guntur District in India. The marbles suffered from the ravages of time as well as at the hands of vandals. When he was unanimously elected in 1856 as first president of the Photographic Society of Madras in India, Elliot decided to let the marbles be photographed for record purposes.

The article features spiral-maker Andrew Bryant, who creates forms expressing an exploration into the core structure of universally recognised ceramic constructions by employing the concept of using a shape. It discusses his concept of energising space, how he shows the skeletal elements of structures, and the various atmospheres his work is fired in including electric, gas and wood fired. Photographs of his creations are also shown including "Fast Spiral," "Carrawinya," and "The Need Temple."