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拍品專文
This representation of Atalanta's tragically slain lover is unusual for it shows the hunter in the throes of an agonizing death, rather than his more usual pose resting from the hunt for the Calydonian boar.
Suggested by the late Rudolph Wittkower as attributable to Giuseppe Mazzuoli, this marble displays the extensive drilling, broad planes of drapery meeting at angles and the rather dramatic effects of light and dark associated with late Roman sculpture in the tradition of Bernini. Mazzuoli (d. 1725) had worked with Bernini for a period before securing his own important commissions, which included the Dead Christ in the antependium of Santa Maria della Scala in Siena, the figure of Charity on Bernini's tomb of Alexander VII and the Pallavicini-Rospigliosi tombs in Santo Francesco a Ripa in Rome.
Suggested by the late Rudolph Wittkower as attributable to Giuseppe Mazzuoli, this marble displays the extensive drilling, broad planes of drapery meeting at angles and the rather dramatic effects of light and dark associated with late Roman sculpture in the tradition of Bernini. Mazzuoli (d. 1725) had worked with Bernini for a period before securing his own important commissions, which included the Dead Christ in the antependium of Santa Maria della Scala in Siena, the figure of Charity on Bernini's tomb of Alexander VII and the Pallavicini-Rospigliosi tombs in Santo Francesco a Ripa in Rome.