- Antonio Susini, (b. before 1580, Firenze, d. 1624, Firenze), copy of the Farnese Bull (Greek Hellenistic sculpture, 1613, Bronze, Galleria Borghese, Rome - 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. - - - - - - - - - - - - - - - - - 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. - - - - - - -
- - Second generation sons of Assistants to Giambolgna, Below: - -
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- - - FERDINANDO TACCA HERKULES TRÃÂGT DEN HIMMEL, 1650/1700
Bronze
Höhe 89 cm,
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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 âÂÂof the Guardaropa Medicea âÂÂfrom 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. - First Generation Assistants to Giambologna: - Pietro Francavilla, Italian Mannerist Sculptor, 1548-1615 - - 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. - - Pietro Francavilla Italian Mannerist Sculptor, 1548-1615 - - - 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. - - 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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- - Pietro Francavilla (1548-1615) David Marble Musée du Louvre, Paris - From Wikpedia Below: Pierre Franqueville, generally called Pietro Francavilla (Cambrai, 1548 â 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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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/
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. 1560âÂÂ1626), 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 (1619âÂÂ1656), 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
- - - - - - - - Detail of the Belvedere Torso by Appolonius at the Pio-Clementio Museum in the Vatican Museum, Vatican City, Rome Italy - - 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 ý in.). Pergamon Museum in Berlin. - - 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) - - Pergamonmuseum Berlin, Pergamonaltar, Gigantomachie, Selene - - Detail of the relief of the Pergamon altars, to the left of Hektate against Klytios, on the right Artemis against Otos - - Pergamon Museum Berlin: Pergamon altar, Gigantomachie, Hektate burns Kytios with the infernal torch, Hektate burns Klytios - - 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) -
- { 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. } - -
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- - Guillaume I COUSTOU - Lyon, 1677 - Paris, 1746 Cheval retenu par un palefrenier dit Cheval de Marly 1739 - 1745, Musée du Louvre - - 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., - - Pierre PUGET, Milo of Crotona, Produced from 1671-82 Musée du Louvre - - 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 conditionColbert 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 compositionAlthough 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 AntiquityPuget 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 -
ÃÂtienne-Maurice FALCONET (1716-1791) Milo of Croton 1754
-ÃÂtienne-Maurice FALCONET - Paris, 1716 - Paris, 1791 Milon de Crotone Musée du Louvre, M.R. 1847 Sculptures - ÃÂtienne-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,
- Johann Nepomuk Schaller, ( 1777 Wein â 1842 Wein )-- Johann Nepomuk Schaller (* 30. März 1777 in Wien; â 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 MaÃÂe: H: 210 cm; inkl. Sockel: 270 cm - - 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, MaÃÂe: H: 53 cm RahmenmaÃÂe: 51 x x cm - - Johann Nepomuk Schaller, ( 1777 Wein â 1842 Wein )Philoktet (Verwundeter Krieger) ( 1808 - 1809 )Genre: Mythologische Darstellung, Typ: Skulptur, Technik: Blei Signatur: unbezeichnet , MaÃÂe: H: 62 cm; inkl. Sockel: 67 cm - - Johann Nepomuk Schaller, ( 1777 Wein â 1842 Wein )Der jugendliche Amor ( 1815 - 1816 ) , Genre: Mythologische Darstellung, Statuette, Typ: Skulptur,Technik: Carraramarmor , Signatur: unbezeichnet, MaÃÂe: H: 130 cm - - Johann Nepomuk Schaller, ( 1777 Wein â 1842 Wein )Venus zeigt Mars ihre von Diomedes verwundete Hand ( 1810 ) , Genre: Mythologische Darstellung, Typ: Relief, Technik: Tiroler Marmor Signatur: unbezeichnet , MaÃÂe: 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.: â No state not, also the female gender not, is excluded. Equality exists in the Valhalla; if the death lifts, nevertheless, every earthly difference. â 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
- - - 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 (â to establish an honorary temple of teutscher tongue âÂÂ), 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:
â 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! âÂÂ
- - 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 - - - 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 - - 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., AuÃÂenansicht, ReliefDas Relief von Rudolf Weyr aus dem Jahr 1906 zeigt "Kaiser Karl der GroÃÂe gründet die Peterskirche".Weyr, Rudolf, * 22.3.1847 Vienna, â 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. - - - - - 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 NuÃÂdorfer weir and so many other Viennese buildings that they were established in the reign emperor Franz Joseph I., in 1848 - in 1916. - - - 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. - - - 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. - -
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 thereâÂÂs 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- - -
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. - - Das Ban JelaÃÂiàDenkmal in Zagreb Anton Dominik Ritter von Fernkorn - (* 17. März 1813 in Erfurt; â 16. November 1878 in Wien)(* 17. March 1813 in Erfurt; â 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 JelaÃÂiÃÂ, which was likewise created by remote grain. It was finished 1864 and inaugurated on 17 December 1866 Weblinks [Bearbeiten] Von âÂÂhttp://de.wikipedia.org/wiki/Anton_Dominik_FernkornâÂÂ
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Tuesday, July 24, 2012
IL NUDO MASCHILE NELLA STATUARIA ITALIANA
Speranza
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