Editing Sculpture (section)

==Social status of sculptors==
[[File:Adam Kraft.jpg|thumb|[[Nuremberg]] sculptor [[Adam Kraft]], self-portrait from ''St Lorenz Church'', 1490s]]
Worldwide, sculptors have usually been tradespeople whose work is unsigned; in some traditions, for example China, where sculpture did not share the prestige of [[literati painting]], this has affected the status of sculpture itself.<ref>Rawson, 134–35.</ref> Even in [[ancient Greece]], where sculptors such as [[Phidias]] became famous, they appear to have retained much the same social status as other artisans, and perhaps not much greater financial rewards, although some signed their works.<ref>Burford, Alison, "Greece, ancient, §IV, 1: Monumental sculpture: Overview, 5 c)" in [[Oxford Art Online]], accessed August 24, 2012.</ref>  In the [[Middle Ages]] artists such as the 12th-century [[Gislebertus]] sometimes signed their work, and were sought after by different cities, especially from the [[Trecento]] onwards in Italy, with figures such as [[Arnolfo di Cambio]], and [[Nicola Pisano]] and his son [[Giovanni Pisano|Giovanni]]. Goldsmiths and jewellers, dealing with precious materials and often doubling as bankers, belonged to powerful [[guild]]s and had considerable status, often holding civic office. Many sculptors also practised in other arts; [[Andrea del Verrocchio]] also painted, and [[Giovanni Pisano]], Michelangelo, and [[Jacopo Sansovino]] were [[Architecture|architects]]. Some sculptors maintained large workshops. Even in the Renaissance the physical nature of the work was perceived by Leonardo da Vinci and others as pulling down the status of sculpture in the arts, though the reputation of Michelangelo perhaps put this long-held idea to rest.

From the [[High Renaissance]] artists such as Michelangelo, [[Leone Leoni]] and [[Giambologna]] could become wealthy, and ennobled, and enter the circle of princes, after a period of sharp argument over the relative status of sculpture and painting.<ref>Olsen, 150–51; Blunt.</ref>  Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From the 18th century or earlier sculpture also attracted middle-class students, although it was slower to do so than painting. Women sculptors took longer to appear than women painters, and were less prominent until the 20th century.