拍品專文
Au début des années 1590, Tiziano Aspetti, élève de Girolamo Campagna et pionnier de l'art maniériste italien, réalisa une série de bronzes déclinée en plusieurs variations représentant une déesse et un dieu surmontant des chenêts. La composition la plus ancienne représentait les figures de Vulcain et de Vénus, mais en modifiant leurs attributs et leurs costumes, la paire aurait également pu représenter Mars, Neptune ou Mercure avec Vénus, Minerve ou La Vigilance (voir L. Planiscig, Venezianische Bildhauer der Renaissance, Vienne, 1921, pp. 616-644). Cependant, selon les sujets traités, nus ou vêtus, portant un attribut ou non, la forme générale de ces figures reste cohérente et correspond à une pose maniérée souvent en contrapposte.
From the outset of the 1590s, Tiziano Aspetti, a pupil of Girolamo Campagna and pioneer of Venetian mannerist art, conceived a series of bronzes that, in various combinations, depicted a male and a female god or saint 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 (See L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 616-644). 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.
From the outset of the 1590s, Tiziano Aspetti, a pupil of Girolamo Campagna and pioneer of Venetian mannerist art, conceived a series of bronzes that, in various combinations, depicted a male and a female god or saint 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 (See L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 616-644). 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.