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Generally, "sculpture of any quality" was more expensive than an equivalent in painting, and when in bronze dramatically so. The painted Equestrian Monument of Niccolò da Tolentino of 1456 by Andrea del Castagno appears to have cost only 24 florins, while Donatello's equestrian bronze of Gattamelata, several years earlier, has been "estimated conservatively" at 1,650 florins.
In 1761, his father died. A year later, his mother remarried. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a stonemason, owner of a quarry, [5] and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". [6] He led Antonio into the art of sculpting.
Michelangelo di Lodovico Buonarroti Simoni [a] (6 March 1475 – 18 February 1564), known mononymously as Michelangelo, [b] [1] was an Italian sculptor, painter, architect, [2] and poet of the High Renaissance.
Young Archer (in Italian) c. 1491–1492: Metropolitan Museum of Art, New York Marble height 97 cm Venus and Cupid (in Italian) c. 1491–1492: Palazzo Medici-Riccardi, Florence Marble 43,5x58 cm Gallino Crucifix (in Italian) c. 1495–1497: Bargello Museum, Florence Wood 41,3×39,7 cm Young Saint John the Baptist [5] c. 1495–1497
The rebirth of antiquity with the abandonment of the medieval, which for Giorgio Vasari "had been a world of Goths", [2] and the recognition of the classics with all their variants and nuances was a phenomenon that developed almost exclusively in Italian Renaissance sculpture. Renaissance art succeeded in interpreting Nature and translating it ...
Image credits: JamesLucasIT Sculpture as an art form dates back to 32,000 years B.C. Back then, of course, small animal and human figures carved in bone, ivory, or stone counted as sculptures.
In the Christian era of the late Empire, from 350 to 500 AD, wall painting, mosaic ceiling and floor work, and funerary sculpture thrived, while full-sized sculpture in the round and panel painting died out, most likely for religious reasons. [7]
The Madonna della Pietà colloquially known as La Pietà (Italian: [maˈdɔnna della pjeˈta]; 1498–1499) is a Roman Catholic Italian Carrara marble sculpture of Jesus Christ and the Virgin Mary at Mount Golgotha, a subject in art known as the Pietà.