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Literature
A. Panzetta, Dizionario deglie sculturi dell'Ottocento, Torino, 1989, p. 205
The Parian Phenomenon, ed P. Atterbury, Somerset, 1989, p. 42
Scipione Tadolini (1822-1892) was born and worked in Rome. He trained under his father, the renowned sculptur Adamo Tadolini (1788-1868). Adamo had worked under Canova, remaining in his studio until 1822, executing on Canova's behalf the colossal figure of Religione for the Basilica of St. Peter, and many copies of Canova's mythological work.
Scipione continued his father's tradition of classical and monumental sculpture, specialising particularly in the study of the nude. Among Scipione's prolific oeuvre are his portraits of the Roman Cini family; his work in the churches of Sant'Andrea della Valle and Ganfalone; and his bust of Cardinal Giuseppe Alberghini. His most celebrated monumental works are the 1870 monument to Vittorio Emanuele II in the Senato, and his monument to Simon Bolivar in Lima. Scipione's work was also acclaimed abroad; he exhibited his bust of Pope Pius IX at the Royal Academy in 1853, and his St. Michael is now in Boston.
In later life Scipione developed his interest in the classical nude, executing his famous Slave Girl and Eve. In keeping with the contemporary romantic fascination with Ancient Greece, Scipione created his celebrated figure of a Greek slave girl. Like Scipione, both Hiram Powers and John Bell also created large marble figures of naked Greek slave girls, respectively The Greek Slave in Raby Castle and The Octoroom in Blackburn Town Hall (cf. The Parian Phenomenon. op. cit., figs., 53-4). As in the present model, Scipione's maiden wears a necklace with her name inscribed in Greek letters on the pendants. The inspiration for the Slave Girl drawn from both Classical examples the sculptor would have known in Rome, such as the Capitoline Venus and the Standing Venus in the Vatican Museum, and also from the Canova's own Venus and Dancer with her hand to her chin. Drawing on these sources further softened the treatment of the female figure to a voluptuous portrayal of feminine beauty and exoticism.
Similar figures were sold at Christie's, King Street, 27th September 1990, lot 133; and at Sotheby's, London 22nd June 1990, lot 70
The Parian Phenomenon, ed P. Atterbury, Somerset, 1989, p. 42
Scipione Tadolini (1822-1892) was born and worked in Rome. He trained under his father, the renowned sculptur Adamo Tadolini (1788-1868). Adamo had worked under Canova, remaining in his studio until 1822, executing on Canova's behalf the colossal figure of Religione for the Basilica of St. Peter, and many copies of Canova's mythological work.
Scipione continued his father's tradition of classical and monumental sculpture, specialising particularly in the study of the nude. Among Scipione's prolific oeuvre are his portraits of the Roman Cini family; his work in the churches of Sant'Andrea della Valle and Ganfalone; and his bust of Cardinal Giuseppe Alberghini. His most celebrated monumental works are the 1870 monument to Vittorio Emanuele II in the Senato, and his monument to Simon Bolivar in Lima. Scipione's work was also acclaimed abroad; he exhibited his bust of Pope Pius IX at the Royal Academy in 1853, and his St. Michael is now in Boston.
In later life Scipione developed his interest in the classical nude, executing his famous Slave Girl and Eve. In keeping with the contemporary romantic fascination with Ancient Greece, Scipione created his celebrated figure of a Greek slave girl. Like Scipione, both Hiram Powers and John Bell also created large marble figures of naked Greek slave girls, respectively The Greek Slave in Raby Castle and The Octoroom in Blackburn Town Hall (cf. The Parian Phenomenon. op. cit., figs., 53-4). As in the present model, Scipione's maiden wears a necklace with her name inscribed in Greek letters on the pendants. The inspiration for the Slave Girl drawn from both Classical examples the sculptor would have known in Rome, such as the Capitoline Venus and the Standing Venus in the Vatican Museum, and also from the Canova's own Venus and Dancer with her hand to her chin. Drawing on these sources further softened the treatment of the female figure to a voluptuous portrayal of feminine beauty and exoticism.
Similar figures were sold at Christie's, King Street, 27th September 1990, lot 133; and at Sotheby's, London 22nd June 1990, lot 70