guglielmo della porta paolo iii

105, p. 143. It features a gilt bronze version of the Loreto crucifix and is currently attributed to Pietro Tacca (1577-1640) likely due to his activity in Giambologna’s workshop. Coll & Cortés, pp. 1593-95 (Fig. Anna Beatriz Chadour (1982): Der Altarsatz des Antonio Gentili in St. Peter zu Rom. However, Torrigiani’s crucifixes diverge by incorporating a pursed brow unlike the perfectly arched brow line featured on Giambologna’s models. Following separate rediscoveries of two pairs of the angels in 1994 and 2008, they are now reunited in the V&A collection. In 1628 the tomb was transferred and modified by Bernini to become a pendant to his Tomb of Urban VIII. 21.

Line: 479 This crucifix has its antecedent in Guglielmo’s 1571 Farnese prototype but instead uses Gentili’s treated Loreto variant as its primary model (Fig. 16. Line: 107 04).[23]. Alessandro’s letter to Guglielmo was written on 8 December 1571 stating: “I have received the crucifix that it was your pleasure to send me and because it is a work of such merit and made with so much care and diligence by such a perfect hand as your own, it has pleased me so much, to the furthest extent to which I can express myself, and indeed I know not of any image that could be sculpted with greater mastery and more skill than this one, so the greater is my gratitude to you.” (from the State Archives of Naples, first published by Gramberg in 1981 and reproduced by R. Coppel in 2012 A letter of gratitude, delivered in 1571 from Alessandro to Guglielmo, offered praise for the crucifix he had received from him. • Giovanni Baglione, Le Vite de' Pittori, Scultori et Architetti dal Pontificato di Gregorio XIII fino a tutto quello d'Urbano VIII, Roma 1642, 70–71, 143, 169, 211, 307. Guglielmo della Porta (geboren 1500/10 in Porlezza, Lombardei; gestorben 1577 in Rom) war ein italienischer Bildhauer, Architekt und Restaurator des Manierismus.. Della Porta war der Sohn von Cristoforo della Porta und dessen Frau Caterina. To find out more, read our cookie policy or to manage your settings click here. cit. Line: 192 101-03 for versions attributed to Susini. 12) or the crucifix for the Cappella della Madonna del Soccorso at the Basilica della Santissima Annunziata in 1594 (Fig.

TABERNACLE WITH CHRIST AT THE COLUMN - Guglielmo della Porta Christie's London. The liberty given to Guglielmo’s assistants is elaborated upon in C.D. The addition of grooved and spiraling hair with its voluminous terminating curls recalls that of the near life-size angels Torrigiani executed for the Sta Maria Maggiore tabernacle in Rome (Fig. 107, p. 144. Function: view, File: /home/ah0ejbmyowku/public_html/application/controllers/Main.php cit. – 1. a. Vano aperto in un muro o altra struttura per crearvi un passaggio costituito da un elemento orizzontale (soglia) posto a livello del pavimento, dall’imbotte,... Della Pòrta, Giovanni Giacomo. Sua opera personale è la S. Caterina (Accademia Ligustica). DELLA PORTA, Guglielmo. 20. (note 23).

[13] The earliest secure sources for which we have a surviving visual example of Giambologna’s crucifixes are the small-scale examples he executed in the late 1580s, namely those at the Florentine convents of Santa Maria degli Angiolini[14] (Fig. Please set all privacy options to continue. 8 life-size recumbent nudes were to encircle the base and a great bronze of Pope to be seen from every side. K. Watson (1978), op. It is the present author’s hope that the observations and ideas presented in this series of articles, tentative as they might be at times, may serve as a clarifying step in the course of understanding not just Guglielmo himself but also the distinct work of those with whom he collaborated. We just need one more thing from you so you can access your account. Cookies and similar technologies allow us to better understand your needs and improve your experience on our website. However, we do not know when Joanna specifically received her example[8] nor do we know what specific metal it was cast in. The most evident alteration is a complete replacement of Christ’s head and hair whose manner is informed of Guglielmo’s influence but is more austere yet prevailing than the intense expressiveness observed in Guglielmo’s models. These cookies enable us to improve the online services and experiences we offer you, by allowing us to monitor the number of visitors to our website and how they navigate it. account, The IP address from which the device accesses a client’s website or mobile application, Information about the geographic location of the device when it accesses a website or mobile application, Remember your login details and store your preferences, Create a better, more personalised experience, Help us understand how people interact with our website and how this could be improved, Make our advertising and communications efforts more efficient with measurement and targeting. Guglielmo della Porta (51 results) ... After Guglielmo della Porta. 24-28. (note 10). 98, p. 140. vai al contenuto della pagina vai al menu di navigazione. This corpus is documented involving Giambologna’s assistant, Antonio Susini, whose characteristic finishing is present on the cast. In addition to the discrepancy in size there is another immediate visual problem with the strength and fleshy-weight of the Loreto crucifix when compared with Giambologna’s known crucifixes which are slender and refined in their countenance.

The mood characterized by the Grimaldi crucifix probably owes its likewise mistaken identity as a work by Giambologna due to the features it shares with his large crucifixes from the 1590s (Fig. pŏrta, affine a pŏrtus -us «porto3»] (pl.

vols., Berlin) (above); detail of a gilt bronze crucifix by Guglielmo della Porta, ca. 12, right), was offered by Coll & Cortés Fine Arts in 2012. Already noted is the umbilici depicted on Guglielmo’s models, rendered naturally in an inverted triangular shape and close to the surface of the abdomen while Giambologna’s crucifixes feature a deeply recessed umbilicus with the surrounding skin stretched tight around it.

cit. It is worth noting that no blood appears on the side-wound of Christ on the Grimaldi crucifix, favoring the type of bloodless Christ likewise found on some later casts made from Guglielmo’s models and also lacking on Giambologna’s crucifixes of the 1590s, probably indicating a shift in the taste and theological climate of the period. Arts Council of Great Britain. In 2015, Art Fund supported the acquisition of The Wolsey Angels, originally commissioned by Henry VIII's chief advisor, Cardinal Thomas Wolsey, to adorn his tomb. Altomani & Sons. Chadour compares the Gramberg crucifix to the one Gentili cast for the Farnese altar cross in 1578, now in the Sacristy of St. Peters at the Vatican and another cited by Gramberg (see note 14) featured on a Mount Calvary relief kept in the bed chamber of Philip II in the Monastery of El Escorial in Spain which uses a smaller scale model conceived in Guglielmo’s workshop . See K. Watson (1978), op. Another important altar service incorporating rock crystals and gilt bronze embellishments at the Basilica della Santissima Annunziata in Florence should also be reconsidered as derivative of Guglielmo’s circle.

A 9 April 1583 letter to the Duke of Urbino from Simone Fortuna cites four crucifixes by Giambologna that had been respectively given to King Phillip II of Spain (1527-98), Pope Pius V (1504-72), Grand Duke Francesco I (1541-87) and the Duchess Joanna of Austria (1547-78).

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