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Adonis, also known as Adonis Mazarin, [1] is a marble sculpture by Flemish artist François Duquesnoy, who completed it in the early 17th century.The Adonis bears the signature of Duquesnoy, and the statue, created around an ancient torso, should be indeed accepted as "a veritable artistic creation [of Duquesnoy]". [2]
Duquesnoy was born in Brussels.Having come from Flanders, Duquesnoy was called Il Fiammingo by the Italians and François Flamand by the French. His father, Jerôme Duquesnoy the Elder, sculptor of the Manneken Pis fountain in Brussels (1619), was the court sculptor to Archduchess Isabella and Archduke Albert, governor of the Low Countries.
Sculptures by the 17th-century Flemish sculptor François Duquesnoy. Pages in category "Sculptures by François Duquesnoy" The following 16 pages are in this category, out of 16 total.
The full-scale stucco model of St. Andrew was unveiled in its intended niche on December 19, 1629, in front of the Pope and the attending cardinals. [1] Among them, was Cardinal Biscia, the cardinal protector of the confraternity of the Baker's guild (which undertook the commission of Duquesnoy's St. Susanna in San Maria di Loreto [1] [3]). He ...
It was formerly attributed to the Flemish sculptor François Duquesnoy. [1] [3] [2] It was realized after 1638, possibly around 1641, [4] and is currently housed at the National Gallery of Ireland. [2] Bentivoglio was nuncio in Brussels from 1607 to 1615. He later was entrusted with the post of Cardinal Protector of France in Rome.
[5] [3] The broad movement of the faun is sign of the Baroque influence in Duquesnoy's day, an admirer of la maniere greca, who in this instance (the restoration of a sculpture ancient per se) nonetheless allowed Baroque influence to permeate the statue. [4] [3] Duquesnoy provided at least the head and the limbs for this sculpture, originally a ...
Apollo and Cupid is a bronze sculpture of the Greek god Apollo flanked by an amorino by the Flemish sculptor François Duquesnoy.Just like Duquesnoy's Mercury (whose putto is now lost) the statue was designed as a dialogue between a Greek god and a putto / Cupid. [1]
The church administration granted the site for Eynde's epitaph on August 3, 1633, with Duquesnoy presumably receiving the commission at this time. [3] In his biography of the Fiammingo, Joachim von Sandrart excused himself from describing the Van den Eynde's tomb, as it was realized after his departure from Rome. [3]