Cover image for The body in three dimensions
The body in three dimensions
Flynn, Tom, 1956-
Personal Author:
Publication Information:
New York City : Harry N. Abrams, Inc., [1998]

Physical Description:
176 pages : illustrations (some color) ; 24 cm.
ch. 1. Idols, myths, and magic: the body in antiquity -- ch. 2. Body re-born: the Middle Ages -- ch. 3. Apotheosis of the body: Mannerism and Baroque -- ch. 4. Sublime body: the eighteenth century -- ch. 5. Body in colour: the nineteenth century -- ch. 6. Abjection and assemblage: the body in the twentieth century.
Subject Term:
Format :


Call Number
Material Type
Home Location
Item Holds
NB1930 .F59 1998 Adult Non-Fiction Non-Fiction Area

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Throughout history the human figure has been central to art making, and three-dimensional sculpture has played a particularly dramatic role. Here Tom Flynn surveys the human body in Western sculpture from prehistory to the present, focusing on the ways representation of the human body has changed in style, in meaning, and in function. 112 illustrations, 95 in full color.

Reviews 1

Choice Review

Flynn (art history, Univ. of Sussex, UK) offers a novel approach to the history of sculpture. Acknowledging the human fascination with its own image, he presents the body as central to the making of art. The relationship between the body and freestanding sculpture is fundamental and profound, and through the history of sculpture one can chart the changing idea of the body as a product of cultural perspective. The author has written extensively on sculpture, and his experience shows in the range of his information and examples. He surveys Western sculpture from prehistory to the present, with the goal of illustrating the historical development of the idea of the three-dimensional body. Along the way the reader is introduced to a series of intriguing issues such as differences in sexuality and obscenity. The author's style is fluid but erudite and a bit dense. The text is greatly enhanced by an inventive selection of 112 illustrations, of which 95 are in full color; a solid bibliography; and a useful time line. There is considerable merit in the perspective and intensity of this book, and it enlarges the literature on the history of sculpture. A must acquisition for all libraries with a serious commitment to the visual arts. General readers; undergraduate and graduate students. J. A. Day; University of South Dakota