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拍品專文
In an era obsessed with perfection, the ideal form and revival of the antique, this rendering, almost certainly of Faustina the Elder, wife of Emporer Antoninus Pius in circa 110 A.D., is derived from one of her official portraits meant to symbolize female virtue. The modeling of the chin and coiffure of wavy locks drawn to the nape of the neck with braided hair coiled above typify representations of Faustina I, the Roman Empress who was posthumously deified.
Notice the strong similarity on this marble relief in the hair style and modeling of the chin and neck with the Aureus of Faustina the Elder (fig.1). Sculptors of the time were seeking to modernize and embellish a representations from antiquity such as this to evoke the past. The Florentine sculptor chose an incredibly popular format in 16th century Venice, a simple head or bust. As with many of his contemporaries, Bianco may have spent much of his career restoring and reworking ancient statuary for a more lively appearance and his expertise with modeling a portrait subject is deftly on display here.
Notice the strong similarity on this marble relief in the hair style and modeling of the chin and neck with the Aureus of Faustina the Elder (fig.1). Sculptors of the time were seeking to modernize and embellish a representations from antiquity such as this to evoke the past. The Florentine sculptor chose an incredibly popular format in 16th century Venice, a simple head or bust. As with many of his contemporaries, Bianco may have spent much of his career restoring and reworking ancient statuary for a more lively appearance and his expertise with modeling a portrait subject is deftly on display here.