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Tuesday, July 24, 2012

IL NUDO MASCHILE NELLA STATUARIA ITALIANA

Speranza



 
 

 

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Giovanni Bologna - 1529 Douai, Flanders - 1608 Florence, Italy; Fountain of Neptune - bronze, Bologna, Italy

 

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"Portrait of Giovanni Bologna" by Hendrick Goltzius
Giambologna, born as Jean Boulogne, also known as Giovanni Da Bologna and Giovanni Bologna (1529 - August 13, 1608), was a sculptor, known for his marble and bronze statuary in a late Renaissance or Mannerist style.
Giambologna's La Archetectura in the Bargello, Florence.
Giambologna's La Archetectura in the Bargello, Florence.

 
Giambologna was born in Douai, Flanders (now in France). After youthful studies in Antwerp with Jean Dubroeuq, he moved to Italy in 1550, and studied in Rome. Giambologna made detailed study of the sculpture of classical antiquity. He was also much influenced by Michelangelo, but developed his own Mannerist style, with perhaps less emphasis on emotion and more emphasis on refined surfaces, cool elegance and beauty. Pope Pius IV gave Giambologna his first major commission, the colossal bronze Neptune and subsidiary figures for the Fountain of Neptune (the base designed by Tommaso Laureti, 1566) in Bologna. Giambologna spent his most productive years in Florence, where he had settled in 1553. He became the Medici court sculptor, and died in Florence at the age of 79. He was interred in a chapel he designed himself in the Santissima Annunziata.

 

Giambologna became well known for the fine sense of action and movement. Among his most famous works are: the winged Mercury (of which he actually did multiple versions), poised on one foot, supported by a zephyr, several depictions of Venus, Florence defeating Pisa, Samson defeating a Philistine, for Francesco de' Medici (1562)[1] the three intertwined figures of The Rape of the Sabine Women (1574-82) and Hercules beating the Centaur Nessus (1599),[2] both in the Loggia dei Lanzi in Florence, the equestrian statue of Cosimo I de' Medici also in Florence, as well as many sculptures for garden grottos and fountains in the Boboli Gardens of Florence and at Pratolino, and the bronze doors of the cathedral of Pisa. For the grotto of the Villa Medicea of Castello he sculpted a series of studies of individual animals, from life, which may now be viewed at the Bargello. Small bronze reductions of many of his sculptures were prized by connoisseurs at the time and ever since, for Giambologna's reputation has never suffered eclipse.
Giambologna was an important influence on later sculptors through his pupils Adriaen de Vries and Pietro Francavilla who left his atelier for Paris in 1601, as well as Pierre Puget who spread Giambologna's influence throughout Northern Europe, and in Italy on Pietro Tacca, who assumed Giambologna's workshop in Florence, and in Rome on Gian Lorenzo Bernini and Alessandro Algardi.

  1. ^ The marble figure for a Medici fountain, the only large marble group by Giambologna to have left Florence, was given to the Duke of Lerma, then to Charles, Prince of Wales at the time of negotiations for the Spanish Match; it was given by George III to Sir Thomas Worsley, at Hovingham Hall, Norfolk; it was purchased in 1953 for the Victoria and Albert Museum through the Art Fund ([1]; [2]).
  2. ^ A bronze variant is in the Rijksmuseum [3].


The "Equestrian Statuette of Ferdinando I de’ Medici" (1549–1609) is part of the most outstanding sculptures in the Princely Collections. It is one of the few works signed by Giambologna whose Monument to the Grand Duke Cosimo I de’ Medici was placed in the Piazza della Signoria in Florence in 1594. Cosimo’s son Ferdinando commissioned his own statue from Giambologna about 1600; it has stood in the Piazza SS. Anunziata since 1608.
Equestrian statues were highly regarded as a form of portraiture as they sympathetically expressed the subject’s power and dignity. This explains why miniature versions of them were favoured as diplomatic gifts. The bronze in the Princely Collections may well have been made for this purpose, too.

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First Generation Assistants to Giovanni Bologna in his studio production :
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Hercules and the Arcadian Stag (43.482.jpg)
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Giovanni da Bologna , Hercules and the Arcadian Stag,
After model by: Giovanni da Bologna
Italian
1529 - 1608
Artist: Antonio Susini
Italian
1580 - 1624
, Detroit Institute of Arts, Michigan

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ANTONIO SUSINI
DEIANEIRA ASSAULTED BY THE CENTAUR NESSUS,
1600, Bronze, height 43 cm,
Deianeira Abducted by the Centaur Nessus" of c. 1600 is one of the finest casts to a design by Giambologna. He devised the composition in 1577 and entrusted its execution to his most important collaborator, Antonio Susini. This was an unusually popular bronze, as the large number of castings proves: owners of copies included Emperor Rudolf II and the French king Louis XIV. Karl Eusebius, too, delighted in the composition and acquired a cast from Giovanni Francesco Susini. The older casting, made by his uncle Antonio and of better quality, was acquired for the Princely Collections by Prince Hans-Adam II von und zu Liechtenstein in 2003.
ANTONIO SUSINI
Florence 1580 - 1624 Florence
From 1580 until 1600 Antonio Susini worked as specialist in bronzes and his master's closest assistant in the Florentine Workshop of Giambologna. In Rome he studied classical statues and ancient cast techniques. Around 1600 he left Giambologna’s workshop and set up on his foundry. He continued to work closely with Giambologna and cast many of his former masters finest bronzes. The earliest record of an original composition - both modelled and cast by Susini himself – is known about the year after Giambologna’s death.
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Giambologna, The four Evangelists, 1596, Statuettengruppe, Braunschweig, Herzog Anton Ulrich-Museum,
Giambologna /
Susini, Antonio,
1596
Statuettengruppe, Kleinskulptur
Bronze,
Braunschweig, öffentliche Sammlung, Herzog Anton Ulrich-Museum

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Giambologna, Raub der Sabinerin, 1701/1715, Statuettengruppe, Braunschweig, Herzog Anton Ulrich-Museum
Antonio SUSINI-
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Pietro Tacca The Pistoia Crucifix, c. 1600/1616
Ailsa Mellon Bruce Fund, National Gallery of Art, Washington, D.C.


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Slave, by Pietro Tacca
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Pietro Tacca (1577-1640)
Slave
Bronze, 1615-1623,

Piazza della Darsena, Livorno.

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Immagine:Livorno, Monumento dei quattro mori a Ferdinando II (1626) - Foto Giovanni Dall'Orto, 13-4-2006 12.jpg
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Livorno,
Monumento dei quattro mori a Ferdinando II (1626)
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Pietro Tacca, Le Sanglier d'Erymanthe, Héraclès ,
(Hercule), approx. between 1600 and 1630, Louis Dieudonné Louis XIV (le Roi Soleil), Louis de France (le Grand Dauphin), Louvre Museum, Paris, France

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Pietro Tacca
Modèles : Le Sanglier d'Erymanthe, Héraclès (Hercule), approx. between 1600 and 1630
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Attributed To Pietro Tacca, A pacing stallion
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Attributed To Pietro Tacca
A pacing stallion
1600 - 1625
Bronze with Gold-Brown Patina
9.6 x 9.9 in. / 24.4 x 25.1 cm.

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Attributed To Pietro Tacca, Pacing horse
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Attributed To Pietro Tacca
Pacing horse
bronze
8.1 x 0 in. / 20.5 x 0 cm.

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Pietro Tacca
Carrara 1577 - 1640 Florence
Grandduke Ferdinando II. de' Medici on horseback (with later added head of Czar Peter the Great), 1615/1621
Bronze
height 69 cm, depth 58 cm
Provenance: 1687 listed in the postmortem inventory of Pietro Tacca's son Ferdinando; acquired in 2005 from a London art dealer by Hans-Adam II von und zu Liechtenstein
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Pietro Tacca (Carrara 1577 - Firenze 1640).


Born in Carrara, Tuscany, he was the chief pupil and follower of Giambologna, whose atelier he joined in 1592. Tacca began in a Mannerist style and worked in the Baroque style during his maturity. Tacca took over the workshop of his master Giambologna on the elder sculptor's death in 1608, completing a number of Giambologna's incomplete projects, and succeeding him almost immediately as court sculptor to the Medici Grand Dukes of Tuscany. Like his master he took full advantage of the fashion among connoisseurs for table-top reductions of fine bronze sculptures. Louis XIV possessed Giambolognesque bronzes of Heracles and the Erymanthian Boar ([2] and Heracles and the Cerynian Stag [3] (now Louvre Museum) that are now attributed to Tacca, ca. 1620s [4].
Tacca began by finishing Giambologna's equestrian bronze of Ferdinand de' Medici for the Piazza della SS. Annunziata, a project in which he had participated at every stage, from the terracotta models to the casting process in the fall of 1602 and the finishing (by 1608).

Tacca's public works for the Medici include his masterpieces, the four Slaves (1620–24) at the foot of Baccio Bandinelli's statue of Ferdinand I de' Medici in Piazza della Darsena, Livorno. Bronze reproductions of these figures were still being reproduced for connoisseurs in the 18th century.
Two bronze fountains destined for Livorno (ca 1629), still in a highly Mannerist style indebted to Flemish Mannerist goldsmith's work for their grotesque masks and shellwork textures, were set up instead in Piazza della SS. Annunziata, Florence. For Giambologna's equestrian statue of Cosimo de' Medici in the Piazza della Signoria, Tacca contributed the bas-relief panels on its base.
Taking his inspiration from a famous marble copy of a Hellenistic marble boar (Il Cinghiale) in the ducal collection at the Uffizi, Tacca set himself the task of surpassing it: the result is the "Porcellino" (1612) of the Mercato Nuovo, Florence, replaced by a copy [5], the original having been brought indoors.
For Madrid, Tacca executed Giambologna's equestrian bronze of Philip III (1616), which was moved in the 19th century to the Plaza Mayor. For Paris, by order of Marie de Medici he finished Giambologna's equestrian Henri IV (inaugurated August 23, 1613), which stood at the center of the Pont-Neuf but was destroyed in 1792 during the Revolution, then replaced with the present sculpture at the Restauration.
Philip IV of Spain.
Enlarge
Philip IV of Spain.
Tacca's last public commission was the colossal equestian bronze of Philip IV, said to have been based on the icography of a lost painting by Rubens [6], begun in 1634 and shipped to Madrid in 1640, the year of his death. The sculpture, atop a complicated fountain composition, forms the centerpiece of the façade of the Royal Palace. The daring stability of the statue was calculated by Galileo Galilei: The horse rears, and the entire weight of the sculpture balances on the two rear legs—and, discreetly, it tail— a feat that had never been attempted in a figure on a heroic scale, of which Leonardo had dreamed.
His son Ferdinando Tacca assisted him in the atelier; the inventory (1687) after his death included sculptures doubtless by Pietro Tacca [7]. The studio was taken over by Giovanni Battista Foggini upon the death of Fernando in Florence.
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Second Generation - sons of Assistants
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Giovanni Francesco SUSINI Florence, 1585 - Florence, vers 1653
Vénus châtiant l'Amour
Signé et daté : IO. FR. SUSINI FLOR. FAC. M. DC. XXXVIIII
1639
Florence
Bronze
H. : 74 cm.

Bronze de la Couronne N° 190.
Don de Le Nôtre àLouis XIV en 1693 ; acquis en 1935
Département des Objets d'art, Louvre, Paris, France
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Giovanni Francesco SUSINI Florence, 1585 - Florence, vers 1653
Vénus brûlant les flèches de l'Amour
Signé et daté : IO. FR. SUSINI-FLOR. F. MDC. XXXIX
1639
Florence
Bronze
H. : 0,70 m.

Bronze de la Couronne N° 181.
Don de Le Nôtre àLouis XIV en 1693 ; acquis en 1935
Département des Objets d'art, Louvre, Paris, France
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GIOVANNI FRANCESCO SUSINI VENUS BURNING CUPID’S ARROWS, 1638
Bronze with gold-brown patina, traces of dark brown lacquer
height 56 cm
Signed and dated on a quiver: IO.FR.SVSINI.FLOR.F. / MDCXXXVIII,
As in "Venus Chastising Cupid" (SK 542)" Susini again took ideas for his creation of Venus from Giambologna (1529–1608) here from his sculpture of Fiorenza.
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GIOVANNI FRANCESCO SUSINI STRIDING HORSE, c. 1650
Bronze, red-brown lacquer patina
height 37 cm,
Provenance: 1652 probably in the collection of Jan van Meurs in Antwerp together with "Striding Bull" (SK 553); both Acquired by Prince Johann Adam Andreas I von Liechtenstein in 1696 as a work by Giambologna from the art dealer Marcus Forchoudt in Antwerp
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Attribué àGiovanni Francesco SUSINI
Vers 1575 - 1653
Gaulois se suicidant sur le corps de sa femme XVIIe siècle, Copy from antique, after Hellenistic Greek
Florence, Bronze, H. : 0,42 m.
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GIOVANNI FRANCESCO SUSINI, LAOCOÖN,
Copy after Antique, after Greek Hellenistic
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SUSINI, Antonio
Italian sculptor (b. before 1580, Firenze, d. 1624, Firenze)
Farnese Bull 1613
Bronze
Galleria Borghese, Rome
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GIOVANNI FRANCESCO SUSINI
THE FARNESE BULL, 1625/1650
Bronze with red-gold lacquer patina
height 42 cm, width 38 cm, depth 37 cm
Provenance: listed in
Prince Karl Eusebius von Liechtenstein’s Quardaroba inventory of 1658
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GIOVANNI FRANCESCO SUSINI STRIDING BULL, c. 1650
Bronze, red brown lacquer patina
height 37 cm,
Provenance: 1652 probably in the collection of Jan van Meurs in Antwerp together with "Striding Horse" (SK 550); both Acquired by Prince Johann Adam Andreas I von Liechtenstein in 1696 as a work by Giambologna from the art dealer Marcus Forchoudt in Antwerp
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Giovanni Francesco Susini,

A Leopard Attacking a Bull, Frick Collection, N.Y.C., New York

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The Abduction of Helen by Paris,

Giovanni Francesco Susini , Italian, Florence, 1627; gilt bronze base, 1750
Bronze on a gilt bronze base
H: 26 3/4 x W: 13 1/2 x D: 13 1/4 in.
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The Abduction of Helen by Paris:Back
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The Abduction of Helen by Paris:Back ,

Giovanni Francesco Susini Italian, Florence, 1627; gilt bronze base, 1750
Bronze on a gilt bronze base
H: 26 3/4 x W: 13 1/2 x D: 13 1/4 in.
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The Abduction of Helen by Paris:Right side
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The Abduction of Helen by Paris:Right side
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Giovanni Francesco Susini Italian, Florence, 1627; gilt bronze base, 1750
Bronze on a gilt bronze base
H: 26 3/4 x W: 13 1/2 x D: 13 1/4 in.
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The Abduction of Helen by Paris:Left side
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The Abduction of Helen by Paris:Left side,
Getty Museum, Los Angelos, California,

Italian, Florence, 1627; gilt bronze base, 1750
Bronze on a gilt bronze base
H: 26 3/4 x W: 13 1/2 x D: 13 1/4 in.,
The subject of this tabletop bronze comes from Greek mythology. When the Trojan prince Paris abducted Helen, the beautiful wife of Menelaus, king of Sparta, and carried her off to the city of Troy, the Greeks responded by mounting an attack on the city, thus beginning the Trojan War. Both the bronze's subject--the Trojan War--and its small-scale format reveal the artist's interest in classical culture. The handling of the figures, however, shows the influence of Italian Mannerist sculpture of the 1600s. The sculptor, Giovanni Francesco Susini, welded the three nude figures together in an intensely dramatic composition. While Paris attempts to carry Helen off, she valiantly struggles against him. Below them a female servant protests. The women twist around the central spiral of Paris's lithe body. Susini arranges the figures as if on a stage; both Paris and Helen turn their faces toward the front. Yet, the spiral composition also encourages the viewer to walk around the piece, offering interesting alternate perspectives. From the sides and back, the details of the figures' exertion are visible: as he sinks his fingers into Helen's yielding flesh, the veins on Paris' hands project and Helen's hair flies loose.
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Bacchus and a Young Satyr (82.27.jpg)
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c. 1640
(Giovanni Franceso Susini)


Bacchus and a Young Satyr,


19 3/4 x 9 x 8 in. 50.2 x 22.9 x 20.3 cm base: 2½ x 8 1/8 x 6 1/8 in. 6.4 x 20.6 x 15.6 cm, The Detroit Intstitute od Arts
Bronze

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Giovanni Francesco Susini
Giovanni Francesco (Gianfrancesco) Susini (Florence c 1585[1] Florence – after 17 October 1653) was a Mannerist Florentine sculptor in bronze and marble, trained in the workshop of Giambologna.

He continued to work in Giambologna's style, and Susini's sculpture was already mistaken for that of his master by the end of the century[2].His uncle, Antonio Susini, was the principal bronze-caster of Giambologna, and the young Francesco received early training as a junior member of Giambologna's workshop. A trip to Rome in 1624-26 gave him first-hand experience of classical antique, 16th century, and the emerging Baroque statuary, latter exemplified by Bernini's youthful Apollo and Daphne, but he had already entrained into his own mature Mannerist style. He made wax copies of the recently-discovered Borghese Hermaphroditus for casting upon his return to Florence.[3] His bronze reduction of the Laocoön [4] likely bases itself on a Florentine copy.

As a sculptor, Susini is known for some public commissions, such as the Fontana del Carciofo ("Artichoke Fountain", 1641), that stands centered with the piano nobile windows of the Palazzo Pitti's garden façade. The model for this final ensemble, according to the chronicler of artists Filippo Baldinucci, had been completed and approved in 1639; but like many productions for the Medici Grand Dukes, the fountain was a team project with a complicated history. For example, some of the putti had already been sculpted by Susini and assistants by 1621.

His first independent Medici commission was a bronze bas-relief for a chapel altar in 1614. Medici patronage required teamwork: the sculptor Orazio Mochi (died 1625) was given the challenge—unlikely to have been the sculptor's choice— of turning a genre subject suited to painting, two players at the roughouse game of Sacchomazzone, into a sculpture for the Boboli Gardens. Assisted at first by Romolo Ferrucci del Tadda (died 1621), Susini reduced the subject to a small bronze, and set it on a small oval plinth to emphasize the tour-de-force of wildly thrashing figures [5]. Other Susini sculptures contribute to the over-all effect of the Boboli Gardens: Cupid Breaking a Heart with a Hammer and Cupid Shooting an Arrow are part of the elaborate allegorical scheme of the "Island Basin" (the Vasca dell'Isola) located on the secondary axis.

Few Susini works bear his signature. A signed Bacchus is at the Louvre Museum[6]. There are some signed bronze statuettes; the Abduction of Helen, signed and dated 1627 in the J. Paul Getty Museum, Los Angeles; Venus Burning the Arrows of Love signed IO. FR. SUSINI-FLOR. F. MDC. XXXIX and Venus Chastising Love signed IO. FR. SUSINI FLOR. FAC. M. DC. XXXVIIII[7], both of which André Le Nôtre gave to his patron Louis XIV in 1693, together with a Gaul Committing Suicide that is inspired by a well-known a Hellenistic marble (all now at the Louvre).The bronze David with the Head of Goliath in the Liechtenstein Museum, Vienna, is signed FRAN.SVSINI F..

Susini continued to operate the family bronze foundry. According to Baldinucci, Giovanni and Antonio Susini continued to use Giambologna's models after the elder master's death to cast finely finished bronze sculptures for discerning patrons. Like Giambologna, Susini's own designs characteristically employ two or three figures in complicated, balanced relationships meant to be appreciated from multiple viewpoints, as represented by the Abduction of Helen (Dresden and Getty Museum), two versions of Venus and Love (Louvre), David with the Head of Goliath (Liechtenstein collection, Vaduz) an analogue of the Ludovisi Mars in Rome, or Venus and Adonis[8] provide characteristic examples of Susini's finely cast and finished table sculptures, meant to be appreciated at close range and admired from all sides. Most of his output of small bronzes could be profitably sold and transported to buyers outside of Tuscany.

Susini excelled in what was also commonly Giambologna's focus: the dynamic and age-old theme of animals in combat. Both these artists were inspired by Hellenistic prototypes, extant as rediscovered antique Roman copies. For example, the first of the pair of bronzes, Lion Attacking a Horse and Leopard Attacking a Bull, given to Frick Collection, New York, 2004, was inspired a fragmentary marble lion with torso of a horse, exhibited on the Campidoglio in the artist's lifetime.


Susini, Piero Francavilla, and Pietro Tacca were contemporaries and pupils of Giambologna. The latter is considered Giambologna's main pupil, and he worked mainly on larger bronzes.

Blog EntryApr 21, '07 12:01 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Fountain of Neptune - bronze, Bologna, Italy
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Antonio Susini, (b. before 1580, Firenze, d. 1624, Firenze), copy of the Farnese Bull (Greek Hellenistic sculpture, 1613, Bronze, Galleria Borghese, Rome
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The Farnese Bull is a massive sculpture attributed to the Rhodian artists Apollonius of Tralles and his brother Tauriscus. We know this thanks to the writings of Pliny the Elder. He tells us it was commissioned at the end of the second century B.C. from just one whole block of marble. It was imported from Rhodes, as part of the incredible collection of artwork and sculptures owned by Asinius Pollio, a Roman politician who lived during the years between the Republic and the Principate. It is widely considered the largest single sculpture ever recovered from antiquity.
This colossal marble sculptural group represents the myth of Dirce. She was tied to a wild bull by the sons of Antiope, Zeto and Amphion, who wanted to punish her for the ill-treatment inflicted on their mother, first wife of Lykos, King of Thebes.
It was found in 1546 in the Baths of Caracalla in Rome during excavations commissioned by Pope Paul III in the hope of finding ancient sculptures to adorn his Roman residence. It is now located at the Museo Archeologico Nazionale Napoli in Naples.
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The Farnese Bull is a massive sculpture attributed to the Rhodian artists Apollonius of Tralles and his brother Tauriscus. We know this thanks to the writings of Pliny the Elder. He tells us it was commissioned at the end of the second century B.C. from just one whole block of marble. It was imported from Rhodes, as part of the incredible collection of artwork and sculptures owned by Asinius Pollio, a Roman politician who lived during the years between the Republic and the Principate. It is widely considered the largest single sculpture ever recovered from antiquity.
This colossal marble sculptural group represents the myth of Dirce. She was tied to a wild bull by the sons of Antiope, Zeto and Amphion, who wanted to punish her for the ill-treatment inflicted on their mother, first wife of Lykos, King of Thebes.
It was found in 1546 in the Baths of Caracalla in Rome during excavations commissioned by Pope Paul III in the hope of finding ancient sculptures to adorn his Roman residence. It is now located at the Museo Archeologico Nazionale Napoli in Naples.
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Blog EntryApr 21, '07 12:01 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Fountain of Neptune - bronze, Bologna, Italy
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Second generation sons of Assistants to Giambolgna, Below:
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Ferdinando Tacca, Hercules and the Erymanthian boar

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Ferdinando Tacca
Hercules and the Erymanthian boar
Bronze with Green-Brown Patina
29 x 0 in. / 73.7 x 0 cm.
Ferdinando Tacca, b. 1619 Florence, Italy, d. 1686 Florence,
Italy sculptor, Ferdinando Tacca applied his artistic and engineering talents to a variety of projects. Trained as a sculptor, he also designed theaters, stage sets, machinery, and court spectacles. He received his first training from his father and in 1640 also assumed his father's position at the Medici court as sculptor to Ferdinand II, grand duke of Tuscany. As director of the sculpture workshop and foundry in Borgo Pinti, Tacca produced large bronze equestrian monuments, figural groups, and smaller-scale works for the Medicis in the 1640s. When Medici patronage of sculptural works declined around 1650, Tacca embarked on a second successful career as a stage designer and engineer. On the request of Cardinal Giovanni Carlo de'Medici, he presented a design for the first theater in Florence. He also designed stage sets and theater machinery. His experience in the theater led naturally to designing spectacles for the court, and in 1656 he was appointed the designer for Medici festivities and religious rites. A few years later, still enjoying Medici patronage, Tacca was appointed engineer of the Medici buildings and fortifications.

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Attributed To Ferdinando Tacca, A rearing horse
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Attributed To Ferdinando Tacca
A rearing horse
Bronze gilded
9.3 x 8.9 in. / 23.5 x 22.5 cm.

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FERDINANDO TACCA HERKULES TRÄGT DEN HIMMEL, 1650/1700
Bronze
Höhe 89 cm,
Provenienz: 1689 Grand Dauphin, Château de Chaisy, Château de Meudon; 1711 French Crown Collection No. 303; 1722 Galerie de Meudon; 1785 Garde-Meuble; 1788 Galerie des Bronzes; 1796 Palais du Conseil des Anciens; nach 1796 Salon des conférences des Archives et Bibliothèque du Palais du Conseil des Anciens; Privatsammlung England; 2005 erworben durch Fürst Hans-Adam II. von und zu Liechtenstein
Giambologna created 1576 and 1589 a series of Modelli over six acts of the Herkules, which was implemented by the silver silberschmieden Michele Mazzafirri and Jacopo Bylivelt in silver between. These works are in the inventory „of the Guardaropa Medicea “from 1587 to 1591 mentioned, today however lost. All six sculptures were also in bronze implemented, also these copies were lost however.
After death Giambolognas acquired Pietro Tacca in Florenz from its deduction a part of the Modelli of the acts of the Herkules, after which he likewise created a cycle. Its son Ferdinando made finally from individual compositions several castings.
Also with this acquisition for the Fürstlichen it concerns collections such a hollow casting after one lost itself gone wax model Pietro Taccas. The globe implemented as extra part is in the center surrounded by a ring with the Tierkreiszeichen, differently oriented than in second admitted casting of the collection Smith in Washington. The Physiognomie of the muskulösen body is underlined in the copy of the Fürstlichen collections by the refined lacquer patina, while the version in Washington possesses a substantially less transparent, darker patina.
Herkules is here represented as the Personifikation of the strength. When penalty for it that he had led its children into the Verdammnis, it became it twelve punishments imposed. One was to steal the apples of the Hesperiden from their garden which was because of a steep slope of the Atlas. It asked to take the apples to Atlas, while it undertook in the meantime the heavy burden of the Atlas to save the world. This symbolic scene - Herkules with the sky on its shoulders - represents Tacca.
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First Generation Assistants to Giambologna:
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Pietro Francavilla,
Italian Mannerist Sculptor, 1548-1615
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Pierre FRANCQUEVILLE Cambrai, 1548 - Paris, 1615 Francesco BORDONI Florence, 1580 - Paris, 1654
Quatre Captifs
Bronze
H. : 1,60 m. ; L. : 0,64 m. ; Pr. : 0,56 m.
Provenant des angles du piédestal de la statue équestre d'Henri IV érigée au Pont-Neuf. Commencés par Francqueville vers 1614 et terminés par son gendre Bordoni en 1618, les captifs représentaient les nations vaincues, mais aussi les âges de la vie et les parties du monde, pour signifier la puissance spirituelle de la monarchie.
La statue équestre en bronze, commandée àJean Bologne, mais exécutée par Pietro Tacca àFlorence, a été détruite sous la Révolution. Les débris subsistants ont été déposés par le Louvre au musée Carnavalet.

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Pietro Francavilla
Italian Mannerist Sculptor, 1548-1615
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Pierre FRANCQUEVILLE Cambrai, 1548 - Paris, 1615 Francesco BORDONI Florence, 1580 - Paris, 1654
Quatre Captifs
Bronze
H. : 1,60 m. ; L. : 0,64 m. ; Pr. : 0,56 m.


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Pierre FRANCQUEVILLE Cambrai, 1548 - Paris, 1615 David vainqueur de Goliath Provenant de la salle des Antiques du Louvre, noyau des collections royales de sculpture
Marbre
H. : 1,79 m. ; L. : 0,62 m. ; Pr. : 0,48 m.

Le héros a tué le géant philistin avec sa fronde. Il s'appuie sur l'épée de Goliath, dont la tête décapitée gît par terre.

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Pierre FRANCQUEVILLE David vainqueur de Goliath
détail de la tête de Goliath
Pierre FRANCQUEVILLE
David vainqueur de Goliath
détail de la tête de Goliath

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Pierre FRANCQUEVILLE David vainqueur de Goliath
détail du visage de David

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David, by Pietro Francavilla
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Pietro Francavilla (1548-1615)
David Marble
Musée du Louvre, Paris

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From Wikpedia Below:
Pierre Franqueville, generally called Pietro Francavilla (Cambrai, 1548 — Paris, 25 August 1615) was a Franco-Flemish sculptor trained in Florence, who provided sculpture in the elegant Late Mannerist tradition established by Giambologna for Italian and French patrons.
He received his early training as a draftsman in Paris. In 1565 he is recorded at Innsbruck, where Alexander Colin was working on the elaborate monument in the Hofkirche for the funerary monument to Maximilian I, Holy Roman Emperor. In this project Franqueville learned enough of the practice of sculpture to enter the large Florentine atelier of his fellow countryman, Giambologna. [1] In Giambologna's workshop Francavilla became his master's main assistant in the carving of marble, including the masterpiece of the Rape of the Sabines displayed in the Loggia dei Lanzi, Florence. His first independent commissions were extended to him through Giambologna, who become overwhelmed with requests. Francavilla's finished pen-and-ink drawings after the master's bozzetti, stored at the workshop, for projects are in some cases the only testament to works that have been lost or that were never executed.[2]
In 1574, he began his first independent commission constituting thirteen garden sculptures for abbate Antonio di Zanobi Bracci for the Villa Bracci at Rovezzano near Florence.[3]
In 1589 nearly all artists in Florence were recruited for the unprecedented decorations set up to celebrate the wedding of Ferdinando I de' Medici and Christine of Lorraine, including painted triumphal artches along the procession route.[4] where it was much admired. It eventually found its way to the gardens of Versailles.Gondi's Château de Saint-Cloud was later purchased for Monsieur, brother of Louis XIV. The sculpture is now in the Louvre Museum.
He intervened, probably only with drawings, in the new architectural façade provided the Palazzo dei Priori, a gothic structure which was unified under a scheme commenced by Vasari to create a Medicean focus in Pisa. In the re-named Piazza dei Signori, Francavilla's monumental bronze of Cosimo I reigned over the former Palazzo degli Anziani ("Palazzo of the Elders"), a former symbol of Pisan independence remade as a Medicean monument (See Ref. Piazza dei Cavalieri).
He was invited to France by Henri IV in 1601, when Pietro Tacca took his place as Giambologna's premier assistant.
When Marie de Medici, the Florentine-born queen of France, decided to erect an equestrian statue in honor of her husband, Henry IV, she awarded the commission to Giambologna, who had executed monuments to the grand dukes of Tuscany, Cosimo and Ferdinand I (at Arezzo) Following Giambologna's death, (1608) the casting and finishing was executed by his pupil Pietro Tacca. When the bronze arrived in Paris, the queen commissioned a pedestal from Pierre Francqueville, as he was known in France. He modelled three bas-reliefs for the base to be cast in bronze and modeled four bound captives before his death. His pupil and son-in-law, Francesco Bordoni, cast and finished the bronzes, which were completed in 1618.
His portrait, executed in chalk, by Hendrik Goltzius in 1591, is in the Rijksmuseum.
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Blog EntryApr 21, '07 12:00 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Fountain of Neptune - bronze, Bologna, Italy
Blog EntryMar 31, '07 12:56 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Rape of the Sabine - three figure group, Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:55 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Rape of the Sabine - three figure group, Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:54 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Rape of the Sabine - three figure group, Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:15 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Fountain of Neptune - bronze, Bologna, Italy
Blog EntryMar 31, '07 12:12 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Hercules and a centaur - Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:08 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Astronomy or Venus Urania - Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:08 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Astronomy or Venus Urania - Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:07 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Astronomy or Venus Urania - Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:04 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Rape of the Sabine - two figure group, Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 31, '07 12:03 AM
for everyone
Giambologna (Giovanni Bologna) / ( Jean Boulogne ) - 1529 Douai, Flanders - 1608 Florence, Italy; Rape of the Sabine - two figure group, Kunsthistorisches Museum, Vienna, Sammlung für Plastik und Kunstgewerbe
Blog EntryMar 29, '07 12:58 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra - Augsburg, Weinmarkt, Germany
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Giambologna

Narrator of the Catholic Reformation

Mary Weitzel Gibbons

UNIVERSITY OF CALIFORNIA PRESS
Berkeley · Los Angeles · Oxford
© 1995 The Regents of the University of California



Preferred Citation: Gibbons, Mary Weitzel. Giambologna: Narrator of the Catholic Reformation. Berkeley: University of California Press, c1995 1995. http://ark.cdlib.org/ark:/13030/ft9n39p3vz/


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As for what happened to bronze relief after Giambologna, we can mention several later artists. Giambologna's scenographic brand of bronze pictorial relief was carried to foreign lands by Adriaen de Vries (c. 1560–1626), who studied with Giambologna and was his assistant from about 1574 to 1588.[3] De Vries's large Martyrdom of Saint Vincent (1614) in the cathedral of Warsaw is an elaborated version of the relief style Giambologna created for the Grimaldi Chapel. De Vries's energized spiral figures, the extensive background in which they interact, and the possibility for multiple views all show his debt to Giambologna. Closer to home, Ferdinando Tacca (1619–1656), son of Pietro, the heir to Giambologna's studio, produced an impressive antependium, Saint Stephen Suffering His Martyrdom, in 1656 for the high altar of Santo Stefano, Florence, developing Giambologna's type of relief into an extensive river landscape teeming with figures from the immediate foreground to the distant background. Giambologna's legacy surfaces again

Blog EntryMar 29, '07 12:58 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra, - Augsburg, Weinmarkt, Germany
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2002-09-10 12:34:08
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Detail of the Belvedere Torso by Appolonius at the Pio-Clementio Museum in the Vatican Museum, Vatican City, Rome Italy
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Zeus fighting Porphyrion, fragment from the Gigantomachy frieze (East) of the Pergamon Altar. Marble, early 2nd century BC. H. 2.3 m (7 ft. 6 ½ in.). Pergamon Museum in Berlin.
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Pergamon Museum Berlin, Pergamon altar, Gigantomachie, Athena against Alkyoneus; Nike (on the top right, goddess of victory), Gaia (below, earth goddess and mother of the giants)
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Pergamonmuseum Berlin, Pergamonaltar, Gigantomachie, Selene
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Detail of the relief of the Pergamon altars, to the left of Hektate against Klytios, on the right Artemis against Otos
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Pergamon Museum Berlin: Pergamon altar, Gigantomachie,
Hektate burns Kytios with the infernal torch, Hektate burns Klytios
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Pergamonmuseum Berlin, Pergamon altar, Gigantomachie, Athena against Alkyoneus; Nike (on the top right, goddess of victory), Gaia (below, earth goddess and mother of the giants)
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Blog EntryMar 29, '07 12:57 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra, - Augsburg, Weinmarkt, Germany
Blog EntryMar 29, '07 12:57 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra, - Augsburg, Weinmarkt, Germany
Blog EntryMar 29, '07 12:57 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra, - Augsburg, Weinmarkt, Germany
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{ The sculptures below are examples of the generations of sculptors in the centuries after the Mannerist / High Renaissance, and the Baroque of Italy. The themes are active with man fighting, or constraining animals, most of mythological subjects. The content and style diverge considerably between these examples. I will return to leave commentary on the work sited here. Not all the work is of equal merit. }
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Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746 Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745

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Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746, Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745
- Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746 Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745, Musée du Louvre
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- Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746 Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745, Musée du Louvre
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- Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746, Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745

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Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746 Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745, Musée du Louvre, Paris, France,
Horses restrained by grooms, known as The Marly Horses 1745 The sculptures were installed at the Château de Marly in 1745. They were moved to Paris in 1794 on the initiative of the painter David, and placed on high pedestals at the bottom of the Champs-Elysées.
Carrara marble
MR 1802: H. 3.40 m; W. 2.84 m; D. 1.27 m
MR 1803: H. 3.40 m; W. 2.84 m; D. 1.27 m
Entered the Louvre on 6 and 13 November 1984.,


{ Horses restrained by grooms, known as The Marly Horses

These two large marble sculptures representing horses restrained by grooms were commissioned in 1739 for the horse pond in the gardens of the Château de Marly. In 1743, the king chose the models exhibited in the Louvre courtyard; the marble sculptures were installed at Marly in 1745. In 1749, they were moved to Paris on the initiative of the painter David, and placed on high pedestals at the bottom of the Champs-Elysées.
Description

A work of diverse inspiration, commissioned to replace another


The statues of Fame and Mercury, commissioned by Louis XIV from Antoine Coysevox for the horse pond at Marly, were taken to the Tuileries in 1719. Louis XV discovered the Château de Marly in 1739 and, to fill the gap left by the removal of the sculptures, commissioned two groups from Guillaume I Coustou (Coysevox's nephew). Coustou's achievement rivaled that of his deceased uncle with its technical prowess: two colossal works, sculpted from a monolithic block of Carrara marble in the record time of two years (1743-45). Many details, such as the bridle (now broken), the tousled mane, the light and floating tail, and the bearskin on the horse's back, required delicate carving.
The artist was probably inspired by the antique statues of the Dioscuri with their rearing horses in front of the Quirinal Palace in Rome, and prestigious examples of such horses from French sculpture of the 18th century, such as the Horses of the Sun by the Marsy brothers (a model of which is in the Louvre). He was no doubt sensitive to the recent masterpiece by Robert Le Lorrain (c. 1737), a high-relief for the stable at the Hôtel de Rohan. Above all, he drew his inspiration from nature, studying the movements of men and horses from live models.

Emulation and innovation


The novelty of this work lies in the absence of any mythological or allegorical reference. It represents primitive nature, a struggle between two wild forces: an untamed horse and a naked man, athletic muscles straining. Coysevox's military trophies have been replaced here by reeds and rocks on an uneven ground. The powerful, thick-necked horse shows every sign of panic and anger: rearing up, tossing its head and whinnying, with dilated eyes and nostrils, and a tousled mane. The almost invincible force of nature seems about to break free again. Wherever the spectator stands, the impression of movement, strength, and violent struggle is perceptible. A moment in time has been captured, heralding something of the Romantic works of Géricault. Indeed, Victor Hugo admired "those neighing marbles [...] prancing in a cloud of gold". Coustou claimed to have sculpted (American) Indian slaves, which explains the quiver and feathered headdress that have fallen to the ground in the struggle. The reference is approximate (one groom appears to be from the West, the other African), but the sculpture prefigures Rousseau's idea of the "noble savage" - an idea already propagated by the accounts of travelers and missionaries.

Protective transfers


From the outset, Coustou's horses were considered to be masterpieces of French sculpture and were spared the fate of the Château de Marly (destroyed during the Revolution). In 1795, on the orders of the painter David, they were taken to the Place de la Révolution (now the Place de la Concorde) at the bottom of the Champs-Elysées, to join the sculptures of Coysevox. The Marly Horses were moved to the Louvre in 1984 to be conserved, and were replaced by copies on the Place de la Concorde and at Marly } Text from the Louvre


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Pierre PUGET, Milo of Crotona, Produced from 1671-82
Musée du Louvre

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Pierre PUGET - Marseille, 1620 - Marseille, 1694 Milon de Crotone Musée du Louvre,
Milo of Crotona Produced from 1671-82 Set in the grounds of Versailles in 1683
Carrara marble
H. 2.7 m; W. 1.4 m; D. 0.8 m

{ A meditation on the human condition


Colbert having granted Pierre Puget the right to carve three blocks of Carrara marble that had been left unused in the port of Toulon, the sculptor - born in Marseilles and trained in baroque Italy - began his Milo of Crotona in 1671, completing it only in 1682.
The theme, foreign to sculpture until then, is not only a meditation on the victory of time over strength, but also on man's pride. Milo is vanquished above all by his vanity and his denial of the weakness attendant to his age. His pain is as much moral as physical. Human glory is ephemeral, as signified by the symbol of the cup won at the Games and now lying on the ground, a worthless object.
It is rather puzzling that Puget selected such a subject for a work destined to the king. He was to manifest the same audacity again with his bas-relief of Alexander and Diogenes, also in the Louvre.

A fascinating composition


Although each side of the sculpture was treated with equal virtuosity, Puget did nevertheless favor the frontal angle. The work is meant to be seen either facing the spectator or in a three-quarter view. Milo's writhing, aching body is an immense zigzag: a succession of three diagonals decreasing in size, culminating with his head thrown back in a cry of agony.
The body is arched against the tree trunk that forms the axis around which the composition pivots. In the center, two large openings were cut into the marble in order to detach the athlete's silhouette from the background. This hollowing-out of the base is a rare occurrence in sculpture and represents a technical feat.

Puget and Antiquity


Puget certainly had in mind the Hellenistic group of Laokoon, a sculpture in the pope's collections, which to the artists of the time epitomized the image of heroic pain. In this piece, the Great Priest of Troy, a very old man, dies a stoic death, strangled by the snake sent by the gods. Puget, however, decided to create a modern piece. He did not idealize the representation of the hero and substituted the violent expression of suffering for the serenity of the Ancients. The body here is arched with pain and the face reduced to a grimace, while the tensed toes seem to claw the ground. When the sculpture was unveiled at Versailles in 1683, Queen Maria Theresa is said to have exclaimed: "Poor man! " The beautiful cuts of Puget's chisel make us forget that we are looking at marble. The lion's claws appear to plunge into real flesh. The muscles seem to stretch and the veins to bulge under our eyes. The modulations of the surface render the impression of shuddering flesh.
The sculptor opposed the extremely smooth finish of the body and the rougher aspect of the other elements. The lion's fur is carved with a burin; the trunk and ground are streaked with a point. Puget thus distinguished the story's three actors - man, beast, and nature - through variations in the treatment of the surface. } from the Louvre text
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Étienne-Maurice FALCONET (1716-1791) Milo of Croton 1754
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Étienne-Maurice FALCONET - Paris, 1716 - Paris, 1791 Milon de Crotone
Musée du Louvre
, M.R. 1847
Sculptures

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Étienne-Maurice FALCONET - Paris, 1716 - Paris, 1791 Louvre Museum, Paris, France, (1716-1791) Milo of Croton, 1754, Reception piece for the Academy, 1754, Marble, H. 66.8 cm; W. 64.9 cm; D. 51.2 cm,

Milo of Croton

When the Greek athlete Milo grew old, he decided to test his legendary strength by trying to split open a cleft tree trunk; his hand remained trapped in the trunk, and he was devoured by wild animals. In this sculpture, he screams his helplessness, his eyes fixed on the lion, his muscles taut with strain. Falconet chose to treat this subject in order to pit himself against the sculptor Pierre Puget, an inescapable reference.
Description

Ten years between the plaster model and the marble sculpture


The Royal Academy of Painting and Sculpture approved Falconet's plaster model on 29 August 1744, while reproaching him for the work's resemblance to that of Pierre Puget (in the Louvre). He was asked to create a different work for his reception piece: a Genius of Sculpture, the model for which was approved in 1745. However, the Academy then decided otherwise, instructing Falconet to make the marble of Milo. After a ten-year wait, Falconet was accepted into the Academy on 31 August 1754.

Falconet and Puget: two versions of Milo


Falconet's choice and energetic treatment of his subject obviously stemmed from a desire to pit himself against his distinguished elder, for whom he had always professed great admiration. The Academy's suspicion of plagiary was clearly unjust, however. Puget's Milo is standing, pushing away the head of the lion that is biting him; if his other hand were not trapped, he would surely triumph. In Falconet's version, Milo is defeated, knocked to the ground, his right leg flailing in the air, his left straining in vain. The cleft in the tree is essential to Puget's composition, but secondary here. Puget concentrated on the suffering man, relegating the lion to the background; Falconet focused on the confrontation between man and wild animal, positioning their heads at almost the same level, setting savagery against pain. The lion's anatomy and expression are rendered with naturalistic vigor, whereas Puget's lion is almost heraldic.

Baroque naturalism


The theatricality and virtuosity of this work are of baroque inspiration: the sweeping diagonals, the twisting of the bodies, the lifelike flesh, the opposition of light and shade, the paroxysmal expression (Milo's face was inspired by Bernini's Damned Soul, in Santa Maria di Monserrato, Rome). Falconet demonstrated his technical and compositional skill, his anatomical knowledge, and his mastery of foreshortening (with the figure of the lion). However, when he presented his marble sculpture at the Salon of 1755, its style clashed with the contemporary taste for antiquity: despite its generally favorable reception, it was soon criticized for lack of nobility. The naturalism of the sculpture offended: Falconet had idealized neither the body (he portrayed the folds of the abdomen and the hairs on the chest) nor the face (a self-portrait with snub nose). His vigorous portrayal of Milo also clashed with the classical ideal that required a dying hero to express stoic restraint. } Text from the Louvre

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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein )

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InvNr.:2558
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Johann Nepomuk Schaller (* 30. März 1777 in Wien; †16. Februar 1842 in Wien) war ein österreichischer Bildhauer, (was an Austrian sculptor). - Bellerophon im Kampf mit der Chimeira ( 1821 ), Genre: Mythologische Darstellung, Standbild
Typ: Skulptur
Technik: Marmor
Signatur: r.(Sockel): I. SCHALLER VIENENSIS. FECIT ROMA 1821

Maße: H: 210 cm; inkl. Sockel: 270 cm

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InvNr.:6558
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Johann Nepomuk SCHALLER
1777 Wien - 1842 Wien
Venus nach dem Bade ( 1816 )
Genre: Mythologische Darstellung, Statuette
Typ: Skulptur , Technik: Carraramarmor
Signatur: in der Kanne: JS, Maße: H: 53 cm Rahmenmaße: 51 x x cm

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InvNr.:2287
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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein )

Philoktet (Verwundeter Krieger) ( 1808 - 1809 )

Genre: Mythologische Darstellung, Typ: Skulptur, Technik: Blei
Signatur: unbezeichnet , Maße: H: 62 cm; inkl. Sockel: 67 cm

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InvNr.:4202
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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein )

Der jugendliche Amor ( 1815 - 1816 ) , Genre: Mythologische Darstellung, Statuette, Typ: Skulptur,
Technik: Carraramarmor , Signatur: unbezeichnet, Maße: H: 130 cm

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InvNr.:2557
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Johann Nepomuk Schaller, ( 1777 Wein – 1842 Wein )

Venus zeigt Mars ihre von Diomedes verwundete Hand ( 1810 ) , Genre: Mythologische Darstellung, Typ: Relief, Technik: Tiroler Marmor Signatur: unbezeichnet , Maße: 72 x 105 cm - Johann Nepomuk Schaller was the younger brother of the painter Anton Ferdinand Schaller. From In 1789 if he visited them Academy of the pedagogic arts Vienna, where Hubert Maurer his teacher was. From 1789 to visited he first the academy of the arts and learned the elementary figure drawing with professor Huber. Before it began - as it was intended by its parents - training as Uhrmacher; its teacher Hagenauer discovered however the special talent for ornament sculptures. In the year 1791 it became Bossierlehrling k.k. Porzellanmanufaktur, where already its father worked, and visited in the subsequent year instruction of Antonio Grassi and Franz Anton of Zauner, which prepared him for its future career/development as sculptors.
From In 1792 if he changed in the sculptor's class to Antonio Grassi and Franz Anton von Zauner. Already In 1791 if it became, in addition, Bossierlehrling in the porcelain manufacture. In 1801 if he brought it to the model master and In 1811 to the Obermodelleur. The love to Porcelain if Schaller his whole other life was preserved, so that he was an artistic adviser of the porcelain manufacture up to his death.

In 1812-In 1823 if Schaller stayed as a scholarship holder in Rome. There he had contact with him Nazarenern and to the significant sculptors Antonio Canova and Bertel Thorvaldsen. King Ludwig I. if Schaller wanted to appeal to Munich what kicked this, however. However, nevertheless, he made busts for that Valhalla in.
In 1823 if he returned to Vienna and became a professor for sculpture in the academy. He had with it for the following artist's generation strong influence. Counted to his pupils Josef Gasser. His studio was in the little early landlord's house in today's Technikerstrasse No. 9. Schaller lived at first in the lane Joanelli 2 and 8, and then in the lane Wickenburg 8. He died in the suburb Laimgrube in the today's Dürer's lane 1. Later he received a grave on him Viennese central cemetery. To his early works after the return belonged a further kolossale Büste of the count Friedrich von Trautmannsdorff, who was likewise for the Walhalla of the Bavarian king intended. Further partially kolossale Büsten of the emperor followed as well as for the Bavarian Walhalla in Regensburg for verschiednen client.
In 1907 Schallergasse was named in Wien-Meidling according to the sculptor.

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In the memorial Walhalla in Donaustauf (Upper Palatinate) if become since 1842 signifying ones German as well as with the history Of Germany and of her To Germanic people linked personalities by marble büsten and commemorative tables honored.
The architect Leo von Klenze built the construction thought as a "fame stamp" from 1830 to 1842 by order King Ludwigs I. of Bavaria high over the Danube with Regensburg. The Walhalla originated in the classicistic style and received the figure of a marmornen Greek temple according to the model Parthenon in Athens. It is named after Whale sound, the Wohnstatt of the liked warriors in that Germanic mythology.
By the opening 160 persons were honored with 96 busts and in the cases of missing authentic pictures with 64 commemorative tables. Today it is reminded with 127 busts and 65 commemorative tables of 192 persons and groups. Only eleven of the honored are women, although these were expressly included by Ludwig I.: „ No state not, also the female gender not, is excluded. Equality exists in the Valhalla; if the death lifts, nevertheless, every earthly difference. “ As the bust last for the time being became in 22nd February In 2003 from Sophie Scholl taken up in the Walhalla, on behalf for the members of the opposition in the third empire for which an additional commemorative table was appropriated.
The Walhalla is a property Free state Bavaria. Every German and every German interest group can suggest a honorary personality from the Germanic family of languages at the earliest 20 years after their death and then carries if necessary the costs for the manufacture and installation of the bust. On the new admissions decides to her Bavarian council of ministers

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Johann Nepomuk Schaller, - König Ludwig I. in der Walhalla



The establishment of the Walhalla is to be seen before the background of the German political situation of the 19-th century. Under the impression of the defeats against the French and the political disunity of Germany one began increasingly to search the national identity in the Germanic past. The establishment of national monuments, as for example Hermannsdenkmals im Teutoburger Wald , Of Hermann's monument in Teutoburger wood, the indeed mostly classicistic style were, however, Germanic subjects took up, is a result of this identity search.
Already when crown prince came Ludwig I. In 1807 on the idea, for all big Germans („ to establish an honorary temple of teutscher tongue ”), and the first busts already became during the years In 1807 to In 1812 provides. With his government beginning In 1825 if 60 busts were already completed. From the works contract up to completion of the Valhalla there passed 26 years. The laying of the foundation stone for the fame stamp occurred on the 18th October, 1830.
In 18th October In 1842, to the 29-th anniversary of her Völkerschlacht bei Leipzig, open Ludwig I. the construction with the following words:
„ If Walhalla might f seyn of the Erstarkung and the increase of teutschen sense! If liked to feel all Teutschen which of trunk they also have seyen, always, that they common native country. And everybody contributes, so much he is capable, to glorification! “

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Jacques Prou (Paris, 1655-1706) Amphitrite Executed 1705-6 Installed in the park of the Château de Marly, initially in the middle of the Bassin des Carpes, then in the Fontaine d'Amphitrite, which was modified several times.
Marble
H. 0.97 m; W. 1.73 m; D. 0.65 m

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Jacques Prou (Paris, 1655-1706) Amphitrite, Executed 1705-6, Musée du Louvre
Amphitrite was the wife of the Greek god of the sea, Poseidon (the Roman Neptune). She is portrayed as a Nereid, a sea-nymph, as in classical representations of marine triumphs such as Raphael's Triumph of Galatea (Galleria Farnese, Rome). Semi-reclined on drapery, she is leaning against a dolphin that she is restraining with a cord. Prou gave her a generous, supple, curvaceous body. The drapery accompanies her curves, emphasizing the small of the back, climbs delicately over her shoulder to accentuate her breasts, and wraps itself around her left leg. Long strands of hair have come loose from her coiffure, one descending her right shoulder to her breast, another wedding the curve of the left shoulder. Her left foot is resting on an aquatic plant. The extreme delicacy of the highly idealized facial features, apparently a characteristic of the artist's work, can also be seen in his admission piece for the Académie, Sculpture Presenting the King's Medallion to the King (1662, Musée du Louvre). There is a slight smile on her impishly graceful face. The sculpture's elegance owes much to the care the artist lavished on its details: the nymph's laurel-crowned hair, the braid border of the drapery, the plaiting of the dolphin's cord, and the aquatic vegetation
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Peterskirche - Außenansicht - Relief
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Weyr Rudolf Ritter von (Tankred),


Peterskirche, Outside view, relief, The tallness shows " emperor Karl the relief of Rudolf Weyr from the year 1906 the Peter's church " founds., Außenansicht, Relief

Das Relief von Rudolf Weyr aus dem Jahr 1906 zeigt "Kaiser Karl der Große gründet die Peterskirche".
Weyr, Rudolf, * 22.3.1847 Vienna, †30.10.1914 ibid., sculptor; uncle of Siegfried Weyr. Studied in the Viennese academy, was active in the studio of sculptor J. Cesar and cooperated in the skulpturalen arrangement of the art-historical and the physical-historical museum as well as the Hermes's villa in Vienna; among the rest, created monuments for H. Canon (1905) and J. Brahms (1908) in Vienna. Beside V. Tilgner one of the most significant Austrian representatives of the new baroque in the sculpture.

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Einer der beiden Löwen neben dem von Otto Wagner errichteten Schleusenbau in Nussdorf

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The pillars form at the same time monument base for the bronze lions of Rudolf Weyr.
The election slogan emperor Franz Joseph " with combined forces " (Viribus unitis) stands in golden letter on one of the pillars. His fixing certifies to the Nußdorfer weir and so many other Viennese buildings that they were established in the reign emperor Franz Joseph I., in 1848 - in 1916.


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Rudolf Weyr, - Wien, Hofburg "Macht zur See",
was made in 1895 by Rudolf von Weyr (1847-1914). Also this figure adorns one of the rudolfinischen house crown felt crown.






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Ressel Park (4th district of Vienna) is close to St.Charles' and the Technical University, both in the vicinity of the Musikverein.
Somewhat hidden in the bushes, near the entrance to the Historical Museum of Vienna, stands the monument of Johannes Brahms, designed by Rudolf Weyr and unveiled on May 7th, 1908. The City of Vienna paid for the project, thus honouring the great composer with this marble monument. It shows Brahms seated, at his feet a female figure with a lyre.

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Vienna, Volksgarten
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You can see here the Volksgarten, on this public park you can find the monument of Franz Grillparzer (a poet), the sculpture was done by Rudolph Weyr, Karl Kundmann and Karl Hasenauer in 1889. In this park there’s also The Temple of Theseus an imitation of the Theseion temple in Athens, built between 1820 and 1823 by Peter Nobile. Inside the temple there used to be the "Group of Theseus" by Antonio Canova (now in the Museum of Fine Arts).
http://www.virtourist.com/europe/vienna/18.htm
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Grillparzer, Volksgarten. Foto: Tjaky

























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Grillparzer. Foto: Tjaky







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Franz Grillparzer (1/15/1791 - 1/21/1872), with assistance from - Rudolf Weyr - releif sculpture for this monument. An architectural Niesche, from Karl Hasenauer is sketched, the seated figure of the poet envelops. For the wings Rudolf Weyr Reliefs has created. In the choice of the motives one notices that the court has promoted the monument: (v. li. n. re.) " the ancestress ", " the dream a life ", " king of Otto's cirque luck and end ", "Sappho", "Medea" and " of the sea and the dear waves " - scenes from grill par cerium dramas. No protracted quarrel around the location or shortage of money hindered the work - nevertheless, it lasted 12 years, until it was ready. Already four years after the death of the poet the work of the private Denkmalkomitées was almost concluded. There was only no useful draft. Two competitions brought no result.


The support of the imperial house to Lebezeiten would have used grill par cerium more. His wish to become a manager of the university library never went to fulfilment. He remained as a manager in the court chamber archive. There Joseph Schreyvogel encouraged him, castle theater script editor, stage plays to write. Grill par cerium pieces did him one of the biggest poets of his time, however, the difficulties with the censorship as well as the failure of his comedy " woe he lies " did in a bitter person who withdrew more and more. The monument was revealed on the 23rd May, 1889. 8,000 guilders were left in the Denkmalkassa. One handed over them to the castle head team who undertaken to arise for the preservation of the monument.

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Das Ban Jelačić Denkmal in Zagreb

Anton Dominik Ritter von Fernkorn - (* 17. März 1813 in Erfurt; †16. November 1878 in Wien)
























































































































(* 17. March 1813 in Erfurt; †16 November 1878 in Vienna) was a German sculptor and picture caster. It is considered as one of the most important masters of early historicism.
After he learned partial auto+didactical training in Munich with Ludwig Schwanthaler. Starting from approximately 1850 it was in Vienna, where it an old cannon foundry (today electrotechnical institute building DO Viennain since 1873 in such a way designated casting house road) as working place (bildgiesserei) used.
Its most well-known works are patriotic fixed images in Austria, above all the rider statues of ore duke Karl (1853-1859) and prince Eugen (1860-1865) at the hero place. From it also the lion of Aspern is, a lying lion as monument to the victory over Napoleon in the battle with Aspern. This sculpture is likewise at the hero place - however on that in Aspern (today some of vienna Danube city).
The monument of ore duke Karl, after a painting of Johann Peter Krafft, is in as much a technical wonderwork as the horse stands only on the hind legs. This feat could not be repeated with the prince Eugen any longer: here the tail of the horse affects the base.
After several impact accumulations of Fernkorn prince Eugen was finished by his pupils. After the legend remote grain illness came along that it could not repeat the technical achievement of the ore duke Karl monument. Its pupil Franz Pönninger continued the picture foundry workshop.
In Zagreb the famous rider monument stands to honours of the Croatian Ban Josip Jelačić, which was likewise created by remote grain. It was finished 1864 and inaugurated on 17 December 1866 Weblinks [Bearbeiten]
Von „http://de.wikipedia.org/wiki/Anton_Dominik_Fernkorn“
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The "Saviour of the Occident", who played an important part in the wars against the Turks, was the first to receive a memorial in the area of the Hofburg, without being part of the House of Habsburg. Horse and rider were concluded in 1865 by Anton Dominik Fernkorn, when the artist's mind already was affected by sickness.
Blog EntryMar 29, '07 12:56 AM
for everyone
Adriaen De Vries - Den Hague, Netherlands, 1556 - Prague, Bohemia, 1626; bronze, - Herkulesbrunnen, 1597 - 1602, bronze, Herkules im Kampf mit der Hydra; Hercules slaying the Hydra, - Augsburg, Weinmarkt, Germany

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