This is a review of 190 years of literature on copper and its alloys. It integrates information on pigments, corrosion and minerals, and discusses environmental conditions, conservation methods, ancient and historical technologies.

A FULL-COLOR GUIDE FOR ARCHITECTS AND DESIGN PROFESSIONALS TO THE SELECTION AND APPLICATION OF COPPER, BRASS, AND BRONZE Copper, Brass, and Bronze Surfaces, third in Zahner's Architectural Metals Series, provides a comprehensive and authoritative treatment of copper, brass, and bronze applications in architecture and art. If offers architecture and design professionals the information they need to ensure proper maintenance and fabrication techniques through detailed information and full-color images. It covers everything from the history of the metals and choosing the right alloy, to detailed information on a variety of surface and chemical finishes and corrosion resistance. The book also features case studies that offer strategies for designing and executing successful projects using copper, brass, and bronze. Copper, Brass, and Bronze Surfaces is filled with illustrated case studies that present comprehensive coverage of how each metal is used in creating surfaces for building exteriors, interiors, and art finishes. All the books in Zahner's Architectural Metals Series offer in-depth coverage of today's most commonly used metals in architecture and art. This visual guide: Features full-color images of a variety of copper, brass, and bronze finishes, colors, textures, and forms Includes case studies with performance data that feature strategies on how to design and execute successful projects using copper, brass, and bronze Offers methods to address corrosion, before and after it occurs Explains the significance of the different alloys and the forms available to the designer Discusses what to expect when using copper, brass, and bronze in various exposures Written for architecture professionals, metal fabricators and developers, architecture students, designers, and artists working with metals, Copper, Brass, and Bronze Surfaces offers a logical framework for the selection and application of copper, brass, and bronze in all aspects of architecture.

For the general public and specialists alike, the Hellenistic period (323–31 BC) and its diverse artistic legacy remain underexplored and not well understood. Yet it was a time when artists throughout the Mediterranean developed new forms, dynamic compositions, and graphic realism to meet new expressive goals, particularly in the realm of portraiture. Rare survivors from antiquity, large bronze statues are today often displayed in isolation, decontextualized as masterpieces of ancient art. Power and Pathos gathers together significant examples of bronze sculpture in order to highlight their varying styles, techniques, contexts, functions, and histories. As the first comprehensive volume on large-scale Hellenistic bronze statuary, this book includes groundbreaking archaeological, art-historical, and scientific essays offering new approaches to understanding ancient production and correctly identifying these remarkable pieces. Designed to become the standard reference for decades to come, the book emphasizes the unique role of bronze both as a medium of prestige and artistic innovation and as a material exceptionally suited for reproduction. Power and Pathos is published on the occasion of an exhibition on view at Palazzo Strozzi in Florence from March 14 to June 21, 2015; at the J. Paul Getty Museum from July 20 through November 1, 2015; and at the National Gallery of Art in Washington, DC, from December 6, 2015, through March 20, 2016.

This antiques book looks at various ornaments, figures and jewellry worked in bronze, brass or copper.

This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? www.getty.edu/publications/artistryinbronze