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Author: Jeremy Warren
Publisher: Paul Holberton Publishing
ISBN:
Category : Art
Languages : en
Pages : 296
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Book Description
This outstanding collection of European bronze sculptures formed by Peter Marino, here catalogued for the first time and beautifully photographed by Maggie Nimkin, is built around an exploration of the human form, as depicted in this lustrous and sensuous material. With a special focus on French and Italian bronzes of the High Baroque, the catalogue illustrates the lively interchange of artists and ideas between Florence, Paris and Rome. Above all, the bronzes in the Marino collection are wonderful works of art, whose beauty and power speak across the centuries to today's audiences.
Author: Jeremy Warren
Publisher: Paul Holberton Publishing
ISBN:
Category : Art
Languages : en
Pages : 296
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Book Description
This outstanding collection of European bronze sculptures formed by Peter Marino, here catalogued for the first time and beautifully photographed by Maggie Nimkin, is built around an exploration of the human form, as depicted in this lustrous and sensuous material. With a special focus on French and Italian bronzes of the High Baroque, the catalogue illustrates the lively interchange of artists and ideas between Florence, Paris and Rome. Above all, the bronzes in the Marino collection are wonderful works of art, whose beauty and power speak across the centuries to today's audiences.
Author: Denise Allen
Publisher: Metropolitan Museum of Art
ISBN: 1588397106
Category : Art
Languages : en
Pages : 571
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Book Description
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.
Author: Patricia Wengraf
Publisher:
ISBN: 9781907372636
Category : Art
Languages : en
Pages : 0
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Book Description
"The Hills' taste centers on the Florentine bronze, but their interests range to superb examples from northern Italy and Rome, as well as those from France and northern Europe. Giambologna, the great Flemish sculptor practicing in Florence in the late sixteenth century, is revered for the subtlety of his compositions and for his technical ability. He is well represented in the Hill collection through works from his own hand and those cast after his models by his assistant - and master in his own right - Antonio Susini."--"Director's foreword", p 8.
Author: Eleonora Luciano
Publisher: Paul Holberton Publishing
ISBN: 9781907372278
Category : Bronze
Languages : en
Pages : 0
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Book Description
"Pier Jacopo Alari Bonacolsi, known as Antico (c. 1455-1528), exemplifies the Renaissance passion for the revival of antiquity. Antico was proficient in all manner of antique art, which he studied, restored, and re-created with unparalleled skill. His gilded and silvered statuettes, made for the Gonzaga rulers at the court of Mantua, pioneered the genre of bronzes made in multiples....Antico's bronze inventions in turn promoted the iconic status of statuary from antiquity, such as the Apollo Belvedere discovered in Rome in 1489....This...publication...is the only available English-language monograph on the sculptor....Featuring a series of essays, the book provides an overview of Antico's career and addresses topics ranging from the chronology of his works to his understanding of the antique, his relationship with Mantuan humanism and Mantegna, his portraiture, aspects of his technique, and his artistic significance."--Front inside flap of dust jacket.
Author: Victoria Avery
Publisher: Gli Ori
ISBN:
Category : Art
Languages : en
Pages : 352
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Book Description
In the introductory essay to the catalogue of bronzes from the Fitzwilliam Museum 'Dr. Avery provides the first detailed account of Boscawen himself, of the loans and gifts he made to the Museum during his lifetime and his sister's extraordinarily generous bequest.' (Foreword)
Author: Charles Avery
Publisher: Sculpture
ISBN: 9780900785481
Category : Bronzes, Baroque
Languages : en
Pages : 0
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Book Description
The outstanding collection of European bronze sculptures formed by acclaimed architect Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes nine essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Anteaus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting gropus in the Marino Collection, making the case for Damiano Cappelli - a bronze-casting specialist in the workshop of Tacca - to be considered as a sculptor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá (1583-1637), who was Philips IV's extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Philippe Malgouyres, Curator of Bronzes, Ivories and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jennifer Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificient 15-figure group ofbronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extols Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the critically acclaimed 2010 exhibition.
Author: Isabella Stewart Gardner Museum Boston, Mass
Publisher:
ISBN: 9781907372704
Category : Drawing, Italian
Languages : en
Pages : 0
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Book Description
The self-portrait of Baccio Bandinelli shows the sculptor pointing to an object that he has placed on a kind of pedestal. Among the most remarkable aspects of this object is that it is not a sculpture but a design in red chalk, a medium that few other Renaissance sculptors used. Bandinelli was particularly proud of his skills as a draughtsman, and he produced hundreds of drawings, many of them as striking and unusual as the one his portrait depicts. His talent and productivity set him apart from other sculptors of his day, most of whom left little evidence of having worked extensively on paper. This publication, which accompanies an important exhibition at the Isabella Stewart Gardner Museum, puts Bandinelli's portrait in context by looking broadly at the practice of drawing by Renaissance sculptors, including such luminaries as Donatello, Verrocchio, Michelangelo, Cellini and Giambologna. The book surveys two centuries of material, considering rough sketches and more finished sheets, isolated studies and sequences of ideas. Comparing designs on paper to related three-dimensional works by the same artists, the book directly confronts the question of the importance drawing held for sculptors in the period. The authors, who include specialists in the history of sculpture and drawing, among other fields, pose new questions about the creative process and the relation between the arts in Renaissance Italy. A focus of the book will be Bandinellis own drawings and the development of his practice across his career and his experimentation with different media. The broader question considered, however, is when, how and why sculptors drew. Every Renaissance sculptor who set out to make a work in metal or stone would first have made a series of preparatory models in wax, clay and/or stucco. Drawing was not an essential practice for sculptors in the way it was for painters, and indeed, most surviving sculptors drawings are not preparatory studies for works they subsequently executed in three dimensions. When sculptors did draw, it often indicated something about the artists training or about his ambitions. Among the most accomplished draftsmen were artists like Pollaiuolo, Verrocchio and Cellini, who had come to sculpture by way of goldsmithery, a profession that required proficiency in ornamental design. Artists who sought to become architects, meanwhile the likes of Michelangelo, Giambologna and Ammanati similarly needed to learn to draw, since architects had to provide plans, elevations and other drawings to assistants and clients and had to imagine the place of individual figures within a larger multi-media ensemble. Certain kinds of projects, moreover fountains and tombs, for example required drawings to a degree that others did not. Sections on the Renaissance goldsmith-sculptor and sculptor-architect will allow comparison of the place drawing had in various artists careers.
Author: Charles Avery
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 158
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Book Description
Author: Laura Camins
Publisher:
ISBN: 9780884010562
Category : Bronzes
Languages : en
Pages : 150
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Book Description
Author: Anthony Colantuono
Publisher: Penn State University Press
ISBN:
Category : Art
Languages : en
Pages : 294
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Book Description
Examines seventeenth-century sculpture in Rome. Focuses on questions of historical context and criticism, including the interaction of theory and practice, the creative roles of sculptors and patrons, the relationship of sculpture to antique models and to contemporary painting, and contextual meaning and reception.
