Italian Renaissance and Baroque Bronzes in the Metropolitan Museum of Art

“Replicas, Copies and Counterfeits of Early Italian Bronzes.” Apollo 124 (September 1986), pp. 183–87. Radcliffe 1993. Anthony Radcliffe. Giambologna's Cesarini Venus. Exh. brochure. Washington, D.C.: National Gallery of Art, 1993.

Author: Denise Allen

Publisher: Metropolitan Museum of Art

ISBN: 9781588397102

Category: Art

Page: 571

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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.
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The Bronzes of Nalanda and Hindu javanese Art

almost exclusively in South - Indian bronzes 1 ) . Dr. Coomaraswamy in his " Catalogue of the Indian Collections of the Museum of Fine Arts at Boston " reproduces a bronze of the sixth century , probably from Buddhapāḍ near Bezwāda ...

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Publisher: Brill Archive

ISBN:

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Page: 124

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bronzes being chapter 1 of survey of chinese art

BRONZES A style of decoration which cannot be included in the preceding two general classes is the plugs or nipples usually found in the center of lozenges , ( Fig . 42 ) . These belonged originally to bells on which they were used for ...

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Publisher: 臺灣商務印書館

ISBN:

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Page: 120

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Copper and Bronze in Art

A Renaissance nobleman's " cabinet of wonders , " containing art objects and curiosities from the natural world . 10 11 13 14 15 Donatello's David remains a masterpiece of freestanding bronze art , the first in Europe since the fall of ...

Author: David A. Scott

Publisher: Getty Publications

ISBN: 0892366389

Category: Antiques & Collectibles

Page: 536

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This is a review of 190 years of literature on copper and its alloys. It integrates information on pigments, corrosion and minerals, and discusses environmental conditions, conservation methods, ancient and historical technologies.
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Art of the Bronze Age

1, and Katsumi Tanabe, Animals in the Arts of the Ancient Orient, exh. cat. , Ancient Orient Museum, Tokyo (Tokyo, 1983), IV-26, . 50. 434. Sarianidi, "Margiana in the Bronze Age,” pp. 168, 169, fig. 2. 45.

Author: Holly Pittman

Publisher: Metropolitan Museum of Art

ISBN: 9780870993657

Category: History

Page: 102

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Chinese Art Bronze jade sculpture ceramics by D G Lion and J C Moreau Gobard

London 1957 . WILLETTS , W .: Chinese Art . 2 vols . Harmondsworth ( Middlesex ) 1958 . CONSTEN , E .: Das Alte China . Stuttgart 1958 . Aspects de la Chine . Bibliothèque de Diffusion du Musée Guimet . Paris 1959 . BRONZES KOOP , A.J .

Author: Daisy Lion-Goldschmidt

Publisher:

ISBN: UCSD:31822004539532

Category: Art objects, Chinese

Page: 442

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Reports on the Paris universal exhibition 1867 Vol 2 6 and Index to vol 2 5

Bronze of the Indian hunter . a Mr. WALLIS International Exhibition at New York , has culminated , as BRONZES , was to be ... The art - bronzes exhibited in the fine - arts gallery are all of more than average excellence as works of art ...

Author: Parliament proc, Vict

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ISBN: OXFORD:590761901

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Page: 644

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The Masterpieces of French Art Illustrated

Being a Biographical History of Art in France, from the Earliest Period to and Including the Salon of 1882 Louis Viardot ... M. Barye received a second medal in 1831 , and the Grand Medal of Honour for art bronzes at the Universal ...

Author: Louis Viardot

Publisher:

ISBN: PRNC:32101078172150

Category: Art, French

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Aegean Bronze Age Art

And to go to some of the very earliest ancient art, in the Middle and Upper Palaeolithic, a division between major and minor arts makes little sense.5 Yes, there may be some ... A prime example is the art of the Bronze Age Aegean.

Author: Carl Knappett

Publisher: Cambridge University Press

ISBN: 9781108671941

Category: Art

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How do we interpret ancient art created before written texts? Scholars usually put ancient art into conversation with ancient texts in order to interpret its meaning. But for earlier periods without texts, such as in the Bronze Age Aegean, this method is redundant. Using cutting-edge theory from art history, archaeology, and anthropology, Carl Knappett offers a new approach to this problem by identifying distinct actions - such as modelling, combining, and imprinting - whereby meaning is scaffolded through the materials themselves. By showing how these actions work in the context of specific bodies of material, Knappett brings to life the fascinating art of Minoan Crete and surrounding areas in novel ways. With a special focus on how creativity manifests itself in these processes, he makes an argument for not just how creativity emerges through specific material engagements but also why creativity might be especially valued at particular moments.
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