拍品專文
Le bronze ici présent fait référence à plusieurs grands crucifix réalisés par Pietro Tacca, notamment celui pour la cathédrale de Pise à San Vigilio, de Sienne mais aussi de San Lorenzo el Escorial. (F. Falletti, Pietro Tacca, Carrare, La Toscane, Le Grandi Corti Europee, 2007, pp. 75-101). La musculature très mince des bras, la position de la tête, l’expression du visage ainsi que le traitement des plis du périzonium sont en effet très analogues. A la différence de son maître, Giambologna, et de son fils Ferdinando Tacca, les experts soulignent la capacité de Pietro à transcrire un sens d’un fort pathos. Entre le Christ de L’Escorial (vers 1616) et celui de la cathédral de Pise, il est aujourd’hui très difficile de dater précisément les œuvres de Pietro tant son style est resté constant tout au long de sa carrière.
The present bronze is based on several large crucifixes by Pietro Tacca, including examples in the Cathedral of Pisa, at San Vigilio, Siena and another at San Lorenzo de El Escorial (F. Falletti, Pietro Tacca, Carrara, La Toscana, Le Grandi Corti Europee, 2007, pp. 75-101). Note the similar lean muscular arms, the position of the head and facial type, and the design of the folds in the perizonium. In differentiating between his work, the work of his master, Giambologna, and his son Ferdinando Tacca, scholars note Pietro's ability to render a sense of great pathos. It is difficult to specifically date crucifixes attributed to Pietro, as his style remained consistent throughout the years between the execution of the Escorial crucifix (c. 1616) and that made for the Cathedral of Pisa.
The present bronze is based on several large crucifixes by Pietro Tacca, including examples in the Cathedral of Pisa, at San Vigilio, Siena and another at San Lorenzo de El Escorial (F. Falletti, Pietro Tacca, Carrara, La Toscana, Le Grandi Corti Europee, 2007, pp. 75-101). Note the similar lean muscular arms, the position of the head and facial type, and the design of the folds in the perizonium. In differentiating between his work, the work of his master, Giambologna, and his son Ferdinando Tacca, scholars note Pietro's ability to render a sense of great pathos. It is difficult to specifically date crucifixes attributed to Pietro, as his style remained consistent throughout the years between the execution of the Escorial crucifix (c. 1616) and that made for the Cathedral of Pisa.