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COLLECTION D'UN COUPLE D'AMATEURS DE SCULPTURE
ENTOURAGE DE SIMONE BIANCO (ACTIF ENTRE 1512-1553), ITALIE, VENISE, PREMIÈRE MOITIÉ DU XVIE SIÈCLE
Profil du Christ
细节
ENTOURAGE DE SIMONE BIANCO (ACTIF ENTRE 1512-1553), ITALIE, VENISE, PREMIÈRE MOITIÉ DU XVIE SIÈCLE
Profil du Christ
relief en marbre, porte une signature postérieure et erronée « F.Lombardo. 1450. » ; restaurations
38 x 31,5 cm (15 x 12 3⁄8 in.)
Profil du Christ
relief en marbre, porte une signature postérieure et erronée « F.Lombardo. 1450. » ; restaurations
38 x 31,5 cm (15 x 12 3⁄8 in.)
来源
Collection particulière, Paris.
出版
Bibliographie comparative :
G. Vasari, Vies des peintres, sculpteurs et architectes, Gand, 1840, pp. 370 et 378.
P. Meller, « Marmi e bronzi di Simone Bianco » in. Mitteilungen des Kunsthistorischen Iinstitutes in Florenz, n°21, Florence, 1977, pp. 199-209.
M. Hochmann, « Les collections des familles « papalistes » à Venise et à Rome du XVIe au XVIIIe siècle » in. Publications de l'École Française de Rome, n°287, Rome, 2001, pp. 203-223.
M.Schulz, The History of Venetian Renaissance Sculpture, ca. 1400-1530, Londres, 2017.
G. Vasari, Vies des peintres, sculpteurs et architectes, Gand, 1840, pp. 370 et 378.
P. Meller, « Marmi e bronzi di Simone Bianco » in. Mitteilungen des Kunsthistorischen Iinstitutes in Florenz, n°21, Florence, 1977, pp. 199-209.
M. Hochmann, « Les collections des familles « papalistes » à Venise et à Rome du XVIe au XVIIIe siècle » in. Publications de l'École Française de Rome, n°287, Rome, 2001, pp. 203-223.
M.Schulz, The History of Venetian Renaissance Sculpture, ca. 1400-1530, Londres, 2017.
更多详情
A MARBLE RELIEF REPRESENTING THE PROFILE OF CHRIST, CIRCLE OF SIMONE BIANCO (ACTIVE BETWEEN 1512–1553), ITALIAN, VENICE, FIRST HALF 16TH CENTURY
In Italy, the 1520s were marked by a surge in private commissions for sculptures. Within this flourishing context, major artists emerged to meet the demands of humanist aesthetes. While history has never forgotten Tullio Lombardo, the same cannot be said for his principal contemporary and rival, Simone Bianco, who succeeded him as the favourite of the Venetian Grimani family of patrons.
Documented notably through mentions by Vasari in The Lives of the Artists and by Aretino in his correspondence, the career of Simone Bianco, a Tuscan sculptor based in Venice, spanned from 1512 to 1553. The majority of his output, intended for a circle of private Venetian enthusiasts of antiquity, comprised "testes," portrait busts or reliefs in marble, of ancient celebrities or contemporaries, as well as restoration projects of ancient sculptures. Furthermore, his signed works, inscribed in Greek as was his custom, constitute a crucial element for the overall understanding of his corpus. Among these signed sculptures is an exception to his preferred subjects: a relief depicting Christ in profile, now preserved in the collections of the Counts von Schönborn at Weissenstein Castle in Bavaria.
Very similar to the one in the Schönborn collection, our relief of Christ in mezzo-rilievo also resembles a recent acquisition of the Kimbell Art Museum in Fort Worth, Texas (inv. AP 2005.04), attributed to Tullio Lombardo. While the cut of our figure below the shoulder is akin to that of the work attributed to Lombardo, the same cannot be said for the details of the garment, the treatment of the hair, and the polishing of the surface, which are much closer to those of the relief by Simone Bianco.
Our work thus stands at the crossroads of the two most important Venetian workshops of the early Cinquecento, between which a certain ambiguity has long persisted. Many sculptures of the Venetian Renaissance, including some by Simone Bianco, have been confused and wrongly attributed to better known artists, such as Tullio Lombardo. However, Bianco's notoriety and talent, although once eclipsed, have gradually been rehabilitated, notably through the rediscovery of some of his signed works. This historical confusion explains the appearance of an apocryphal signature of Lombardo on our work, which nevertheless exhibits more plastic and stylistic similarities with the work of Bianco.
In Italy, the 1520s were marked by a surge in private commissions for sculptures. Within this flourishing context, major artists emerged to meet the demands of humanist aesthetes. While history has never forgotten Tullio Lombardo, the same cannot be said for his principal contemporary and rival, Simone Bianco, who succeeded him as the favourite of the Venetian Grimani family of patrons.
Documented notably through mentions by Vasari in The Lives of the Artists and by Aretino in his correspondence, the career of Simone Bianco, a Tuscan sculptor based in Venice, spanned from 1512 to 1553. The majority of his output, intended for a circle of private Venetian enthusiasts of antiquity, comprised "testes," portrait busts or reliefs in marble, of ancient celebrities or contemporaries, as well as restoration projects of ancient sculptures. Furthermore, his signed works, inscribed in Greek as was his custom, constitute a crucial element for the overall understanding of his corpus. Among these signed sculptures is an exception to his preferred subjects: a relief depicting Christ in profile, now preserved in the collections of the Counts von Schönborn at Weissenstein Castle in Bavaria.
Very similar to the one in the Schönborn collection, our relief of Christ in mezzo-rilievo also resembles a recent acquisition of the Kimbell Art Museum in Fort Worth, Texas (inv. AP 2005.04), attributed to Tullio Lombardo. While the cut of our figure below the shoulder is akin to that of the work attributed to Lombardo, the same cannot be said for the details of the garment, the treatment of the hair, and the polishing of the surface, which are much closer to those of the relief by Simone Bianco.
Our work thus stands at the crossroads of the two most important Venetian workshops of the early Cinquecento, between which a certain ambiguity has long persisted. Many sculptures of the Venetian Renaissance, including some by Simone Bianco, have been confused and wrongly attributed to better known artists, such as Tullio Lombardo. However, Bianco's notoriety and talent, although once eclipsed, have gradually been rehabilitated, notably through the rediscovery of some of his signed works. This historical confusion explains the appearance of an apocryphal signature of Lombardo on our work, which nevertheless exhibits more plastic and stylistic similarities with the work of Bianco.
荣誉呈献
Olivia Ghosh
Specialist