In Pygmalion in Bavaria, Christiane Hertel introduces the sculptor Ignaz G&ünther, placing him in the historical context of Bavarian Rococo art and Counter-Reformation religious visual culture. She also considers the remarkable aesthetic appeal of G&ünther&’s oeuvre&—and connects it to the eighteenth-century art theory that focused on sculpture and the creative paradigm of Pygmalion. Through this interweaving of contexts and discourses, Hertel offers insights into how Rococo art&’s own critical dimension positions it against the Enlightenment and introduces a particular notion of subjectivity.