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Italian Renaissance and Baroque Bronzes in the Metropolitan Museum of Art
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 colle...
The Italian Bronze Statuettes of the Renaissance
Hardcover reprint of the original 1907 edition - beautifully bound in brown cloth covers featuring titles stamped in gold, 8vo - 6x9. No adjustments have been made to the original text, giving readers the full antiquarian experience. For quality purposes, all text and images are printed as black and white. This item is printed on demand. Book Information: Bode, Wilhelm Von. The Italian Bronze Statuettes of The Renaissance, Volume 3. Indiana: Repressed Publishing LLC, 2012. Original Publishing: Bode, Wilhelm Von. The Italian Bronze Statuettes of The Renaissance, Volume 3. London: H. Grevel & Co.; Berlin: Bruno Cassirer, 1907. Subject: Bronzes, Italian
The Culture of Bronze
"Being both costly and luxurious, bronze arguably carries the most significance of all the sculptural materials. In the Renaissance, the use of bronze embodied power, authority and eternity and emulated the classical past. Yet it was one of the easiest materials to recycle, especially when the need for artillery was often pressing. Nonetheless the Italian Renaissance was a golden age for the production of sculpture in bronze, such as Ghiberti's Gates of Paradise, Verrocchio's Colleoni monument or Cellini's Perseus.0Bronze is generally defined as an alloy of copper and tin, but can contain zinc, lead and other elements. The term `bronze' is often applied to any copper-alloy sculpture. The Cul...
The Getty Bronze
Released from his prison of incrustation, having rested on the ocean floor for thousands of years, the bronze statue of an athlete stands in a quietly arrogant pose, having just placed an olive crown—the symbol of victory in the Olympic Games—on his head. In this monograph devoted to the Getty Bronze, Dr. Frel analyzes the technique and style that point to its attribution to the great fourth-century Greek sculptor Lysippos. The conservation of the bronze, its possible identity as a Hellenistic prince, and its place in Lysippos’s oeuvre are discussed.
Il Bresciano
The first comprehensive study of an important Italian Renaissance bronze-caster by a leading authority. A nucleus of sculptures cast by Andrea di Alessandri , commonly called from his native city, "Il Bresciano," or from his products, "Andrea dai bronzi," has been identified over the centuries. His style has been described as having similarities both with the High Renaissance of Sansovino and the Mannerism of Vittoria, the two successive master-sculptors of 16th-century Venice for whom he cast major bronzes. Andrea's signed masterpiece is a Paschal Candlestick in bronze, over two metres high and with sixty or more fascinating figures, made for Sansovino's magnificent lost church of Santo Spi...
Essays on Italian Sculpture
Distributors in the U.S.A.: Frederick A. Praeger, New York.
Power and pathos
This catalogue is published in conjunction with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World, the National Gallery of Art, Washington, DC, from 12/13/2015 to 3/20/2016 This exhibition is an extraordinary opportunity to view
