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Young Slave at the Galleria dell'Accademia, Florence Probable bozzetto at the V&A. The Young Slave (Italian: Schiavo giovane) is a marble sculpture of Michelangelo, datable to around 1525–1530 which is conserved in the Galleria dell'Accademia in Florence.
The exact date of execution of the statue is unknown, but it is usually related to the project for the tomb of Julius II.It is thought to have been intended for one of the lower niches of one of the last projects for the tomb, perhaps that of 1532 for which the so-called Captives or "Provinces" now in the Galleria dell'Accademia of Florence may have also been made.
The two "slaves" of the Louvre date to the second version of the tomb of Pope Julius II which was commissioned by the Pope's heirs, the Della Rovere in May 1513. Although the initial plans for a gigantic mausoleum were set aside, the work was still monumental, with a corridor richly decorated with sculpture and Michelangelo was immediately put in charge of the work.
The Atlas Slave is a 2.77m high marble statue by Michelangelo, dated to 1525–1530. It is one of the 'Prisoners', the series of unfinished sculptures for the tomb of Pope Julius II . It is now held in the Galleria dell'Accademia in Florence .
The Dying Slave is a sculpture by the Italian Renaissance artist Michelangelo. Created between 1513 and 1516, it was to serve with another figure, the Rebellious Slave, at the tomb of Pope Julius II. [1] It is a marble figure 2.15 metres (7' 4") in height, and is exhibited at the Louvre, Paris.
The Captives may refer to: Captivi, a Latin play by the early Roman playwright Titus Maccius Plautus; The Captives, a 1724 work by the British writer John Gay; The ...
Slave shackles. Marie Séraphique was built in Nantes and launched with the name Dannecourt in October 1764. [3] It was a purpose-built slave vessel measuring approximately 67 feet by 24 feet 5 inches (20.5 × 7.5 meters), and carried an average of 357 people on its six voyages.
The work is an obvious homage to the stiacciato low reliefs of Donatello, as Vasari also noted, both in technique and sizes plans with millimeter thickness variations, both in iconography, starting from the scale pattern with pronounced steps and handrails foreshortened, visible for example in the Feast of Herod in Lille.