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拍品专文
COMPARATIVE LITERATURE:
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pls. 520 and 521.
W. Bode, Collection of J. Pierpont Morgan: Bronzes of the Renaissance and Subsequent Periods, Paris, 1910, vols. I and II, nos. 193 and 194.
From the 1590s onwards, Tiziano Aspetti conceived a series of bronzes that, in various combinations, depicted a male and a female god or saint each surmounting an andiron. The earliest combinations depicted the figures of Vulcan and Venus, but by changing their attributes and costume, the pair could also have been a combination of Mars, Neptune and Mercury with either Venus, Minerva or Vigilance. What remained consistent with each of these figures, however, was the overall form, which was of an exaggerated pose often in contrapposto and, depending on the subject matter, either clothed or naked and carrying an attribute. Both Planiscig and Bode (loc. cit.) refer to the present model as from the studio of Alessandro Vittoria and illustrated incorporated into andirons. Bode refers to the Morgan version as War.
Technically, these bronzes are also consistent with many of Aspetti's variants in the sense that they display the same roughly worked surface and thick patination. This was partly due to their function as elements surmounting an andiron; in being placed close to a fire, they were not intended to be viewed at close quarters as would a desk top bronze. The emphasis here is on the Venetian artists' interest in composition, form and expression as opposed to minute detailing of the surface after having come out of the mold.
L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pls. 520 and 521.
W. Bode, Collection of J. Pierpont Morgan: Bronzes of the Renaissance and Subsequent Periods, Paris, 1910, vols. I and II, nos. 193 and 194.
From the 1590s onwards, Tiziano Aspetti conceived a series of bronzes that, in various combinations, depicted a male and a female god or saint each surmounting an andiron. The earliest combinations depicted the figures of Vulcan and Venus, but by changing their attributes and costume, the pair could also have been a combination of Mars, Neptune and Mercury with either Venus, Minerva or Vigilance. What remained consistent with each of these figures, however, was the overall form, which was of an exaggerated pose often in contrapposto and, depending on the subject matter, either clothed or naked and carrying an attribute. Both Planiscig and Bode (loc. cit.) refer to the present model as from the studio of Alessandro Vittoria and illustrated incorporated into andirons. Bode refers to the Morgan version as War.
Technically, these bronzes are also consistent with many of Aspetti's variants in the sense that they display the same roughly worked surface and thick patination. This was partly due to their function as elements surmounting an andiron; in being placed close to a fire, they were not intended to be viewed at close quarters as would a desk top bronze. The emphasis here is on the Venetian artists' interest in composition, form and expression as opposed to minute detailing of the surface after having come out of the mold.