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Lorenzo Bartolini (1777-1850)2

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Lorenzo Bartolini (1777 – 1850) was an Italian sculptor who infused his neoclassicism with a strain of sentimental piety and naturalistic detail which led him furthermore Romanticism, while he drew inspiration from the sculpture of the Florentine Renaissance rather than the overpowering influence of Antonio Canova that circumscribed his Florentine contemporaries.

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Lorenzo Bartolini (1777-1850)2

  1. 1. Lorenzo Bartolini: Scultore del bello naturale (Lorenzo Bartolini: Beauty and Truth in Marble) exhibition 2011 at the Galleria dell’Accademia in Florence. Florence's Accademia Gallery inaugurated this monographic show in May 2011 dedicated to Lorenzo Bartolini (1777-1850), the artist whose works plays a central role in the development of sculpture in the 1800s in Italy, Europe and the United States.
  2. 2. Venus in her shell
  3. 3. Venus Liebieghaus, Frankfurt am Main
  4. 4. Emma e Julia Campbell (Le sorelle Campbell; Le ballerine; Le danzatrici) Edimburgo, Scottish National Gallery Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre
  5. 5. Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre
  6. 6. Bartolini himself relied on the scientific method of observation and recordkeeping. He worked with models not only in the initial phases of a project, but even after putting chisel to marble. He was convinced that there were no perfect models, but that nature “drops perfection onto a body between two defects.” He would strive to discern perfection in the smallest detail of every model. Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre
  7. 7. Recumbent bacchante 1834 Chatsworth House Sculpture Gallery Chatsworth, Derbyshire
  8. 8. Recumbent bacchante 1834 Chatsworth House Sculpture Gallery Chatsworth, Derbyshire
  9. 9. Dirce, Chantilly, Musée Condé
  10. 10. Amicizia
  11. 11. Fiducia in Dio, Museo Poldi Pezzoli, Milano
  12. 12. Fiducia in Dio, Museo Poldi Pezzoli, Milano
  13. 13. Fiducia in Dio, Sankt Petersburg, Hermitage museum
  14. 14. Venere (da Tiziano) Venus of Urbino, 16,5 x 34,9 x 11,4 cm, The Museum of Fine Arts, Boston
  15. 15. Venere (da Tiziano) Venus of Urbino, Musée Fabre, Montpellier Agglomération
  16. 16. The Spinner (La filatrice), 1847 Palazzo Pretorio, Prato, Italy
  17. 17. The Spinner (La filatrice), 1847 Palazzo Pretorio, Prato, Italy
  18. 18. The Spinner (La filatrice), 1847 Palazzo Pretorio, Prato, Italy
  19. 19. Giunone Firenze, Galleria dell'Accademia
  20. 20. Ninfa del deserto (Ninfa del serpe) (incompiuta alla morte dell’artista)
  21. 21. La Donati (Beatrice Donati) Firenze, Accademia di Belle Arti
  22. 22. Narciso Firenze, Galleria dell'Accademia Ninfa dell'Arno (Arnina; Ninfa Oceanina; Peri) Prato, Museo Civico
  23. 23. Charity the Educator 1824, copy in corridor near entrance to Roman Baths, Bath, England
  24. 24. Princess Maria Teresa of Savoy, 1825 Galleria Nazionale, Parma Marina Dmitrievna Gur'eva, nata Naryškina Prato, Museo Civico
  25. 25. Marina Dmitrievna Gur'eva, nata Naryškina Sankt Petersburg, Hermitage museum
  26. 26. Ninfa dello scorpione (Nymph with a Scorpion) Marble. H. 0.90 m; W. 1.24 m Musée du Louvre Commissioned by Prince Charles de Beauvau and presented at the Salon of 1845.
  27. 27. Ninfa dello scorpione (Nymph with a Scorpion) Detail
  28. 28. Ninfa dello scorpione (Nymph with a Scorpion) Details
  29. 29. Ninfa dello scorpione (Nymph with a Scorpion) Sankt Petersburg, Hermitage Museum
  30. 30. Ninfa dello scorpione (Nymph with a Scorpion) Sankt Petersburg, Hermitage Museum The first marble version of this late sculpture was exhibited in Paris at the Salon of 1845 and was hugely successful. We can judge just how popular the sculpture was by the number of copies now to be found in various museums around the world. The Hermitage example was commissioned by Tsar Nicholas I, who visited Bartolini's studio at the end of 1845. Work was begun by the master himself but it was completed after his death by Giovanni Dupré, one of the best Bartolini's pupils.
  31. 31. La Table aux Amours (The Demidoff Table), 1845 Metropolitan Museum of Art Marble Diam. 137.2 cm, H. 162.6 cm Commissioned by Count Anatoly Nicolaevich Demidoff, this subject is a complex, cosmological allegory best described in the sculptor's own words: "Stretched out upon the plan of the world is Cupid, god of generation, sustaining and watching over the symbolic genius of dissolute wealth without virtue, who snores in his sleep … dreaming of past diversions in pleasure. Left to himself, the genius of ambitious rectitude in work sleeps the agitated sleep of misfortune and glory … his head extending beyond the periphery of the world." The original plaster is in the Gipsoteca Bartoliniana, Florence.
  32. 32. Jean Auguste Dominique Ingres (1780–1867) Portrait of Lorenzo Bartolini Louvre Museum Lorenzo Bartolini (7 January 1777 – 20 January 1850) was an Italian sculptor who infused his neoclassicism with a strain of sentimental piety and naturalistic detail which led him furthermore Romanticism, while he drew inspiration from the sculpture of the Florentine Renaissance rather than the overpowering influence of Antonio Canova that circumscribed his Florentine contemporaries. Bartolini was born in Vernio, near Prato, Tuscany. After studying at the Florentine Academy, honing his skills and reputation as a modeller in alabaster, he went in 1797 to Paris, where he studied painting under Frédéric Desmarais, and afterwards sculpture under François-Frédéric Lemot. The bas-relief Cleobis and Biton, with which he gained the second prize of the Academy in 1803, at once established his fame as a sculptor and gained for him a number of influential patrons. His bas-relief of the Battle of Austerlitz was among those executed for the column erected in Place Vendôme. He also executed many minor pieces for Vivant-Denon, besides portrait busts of the opera composers Méhul and Cherubini. His great patron, however, was Napoleon, for whom he executed a colossal bust, and who sent him, on the recommendations of his sister Elisa Baciocchi, to Accademia Carrara in Bergamo in 1807, to teach sculpture, in spite of local opposition. Here he remained as the quasi-official portrait sculptor to the Buonapartes till after the fall of Napoleon. He then took up his residence in Florence, where he resided till his death.
  33. 33. Sound: P.I.Tchaikovsky - Souvenir de Florence II. Adagio cantabile e con moto III.Allegretto moderato IV.Allegro vivace Text and pictures: Internet All  copyrights  belong to their  respective owners Presentation: Sanda Foişoreanu https://plus.google.com/+SandaMichaela 2013

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