3,063 research outputs found
The Bust of Ottavio Farnese at the J. Paul Getty Museum: An Addition to the Corpus of Giovanni Battista della Porta
No full textThe various sculpted busts of Ottavio Farnese (1524–86), duke of Parma and Piacenza, are still at the center of debates of attribution. Focusing on the bust in Carrara marble in the collection of the J. Paul Getty Museum in Los Angeles, the author proposes a new attribution to Lombard-born sculptor Giovanni Battista della Porta (1542–97), one of the protagonists of the Roman artistic scene in the second half of the sixteenth century. While archival sources attest to Della Porta’s ambition to work in the service of the duke and to Farnese’s awareness of the sculptor’s artistic achievements, the attribution is largely based on comparisons with Della Porta’s works. Finally, the author discusses hypotheses related to the dating of the bust, the occasion of its creation, its original location in Parma, and the bust’s movements prior to its entry into the Getty collection
Antonio Begarelli a Bologna
No full textIl plasticatore modenese Antonio Begarelli (1499-1565) fu un protagonista della scultura italiana del Cinquecento, nonché tra gli interpreti più raffinati del raffaellismo in Emilia. A detta di Giorgio Vasari (1568), l’artista si attirò anche l’ammirazione di Michelangelo, che apprezzava in particolare la cromia bianca delle sue opere in terracotta, a imitazione del marmo. In questa sede si è proposto di restituire a Begarelli due figure fittili raffiguranti i santi Vitale e Agricola, conservate nell’omonima chiesa bolognese e pressoché sconosciute in letteratura. L’attribuzione, avanzata sulla base delle evidenze stilistiche, trova un appoggio non meno importante anche nell’identità dei committenti, le
monache benedettine già residenti nell’annesso convento, presso cui infatti le due opere si trovavano in origine, come dimostrato dalle nuove ricerche archivistiche sempre qui presentate. La familiarità professionale di Begarelli con quella confraternita è ben nota, al punto che a partire dagli anni trenta la sua attività fu legata quasi esclusivamente alle richieste dell’ordine benedettino. Per quanto concerne la cronologia, le due terrecotte possono essere collocate negli anni quaranta, e permettono quindi di gettare nuova luce sulla scultura a Bologna intorno alla metà del Cinquecento. Alla fine
dell’intervento, si approfondiscono anche le tangenze e gli eventuali debiti di Begarelli con la cultura figurativa di Bologna, in cui l’artista, probabilmente, passò anche in gioventù, nei primissimi anni venti, forse al seguito di Alfonso Lombardi
Una proposta per Tommaso da Lugano : le sculture dei monumenti Corner in San Salvador a Venezia
No full textJacopo Fantoni a Bologna : l’altare della Madonna di Galliera e il Monumento Bottrigari in San Francesco
No full textAurelio, Girolamo e Ludovico Lombardi, fratelli scultori del Cinquecento
No full textThe PhD thesis, structured in eight chapters and three appendixes, focuses on Aurelio (1502/1504-1563), Girolamo (1506/1507-1584-1589) and Ludovico (about 1510 - 1575) Lombardi. These Venetian-Ferrarese sculptors, known mainly as Antonio Lombardo's sons, were some of the protagonists of the sixteenth century.My manuscript starts analyzing the fortune of the three masters in literature, from Vasari's Lives (1568) up to the most recent printed contributions. The remaining chapters, instead, investigate Lombardi’s entire career, through the various places where they worked. Although there was no total lack of studies on them, a complete catalogue was still missing: so the main purpose of the thesis is to read the single works in relation to the stylistic facts of the time and to define the artistic specimens of the three brothers. This has allowed new additions to Lombardi’s corpus, but also a more precise focus on works so far attributed to them.The second and third chapters are dedicated to the years of their training, spent in Ferrara and Venice: in these interventions the subject is also largely concentrated on the figurative influences in those cities. The fourth and fifth chapters, on the other hand, face the arrival of the three artists in the Marche region towards the end of the fourth decade of sixteenth century, first in Pesaro and then in Loreto, where they worked as official sculptors of the Santa Casa. The sixth chapter examines Ludovico’s activity in Rome, which can be dated between 1545 and 1550, and consists of bronze portrait-busts inspired by antiquities. The seventh and eighth chapters, finally, retrace the last years of the Lombardi’s production, from the bronze Eucharistic Tabernacle set up in the Milan Cathedral to the last, extraordinary works for the Basilica of Loreto.These essays, as partly anticipated, are followed by a list of illustrations, a documentary appendix, bibliography and images. 
All’ombra di Guglielmo della Porta. Bernardino Passeri e Bartolomeo Argentieri nella Roma di Gregorio XIII
No full textL’altare della Madonna di Galliera, il progetto di Alfonso Lombardi e alcune riflessioni sulla sua opera grafica
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