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The collection of post-antique Italian sculpture in the Detroit Institute of Arts is considered among the three finest and most comprehensive outside Europe; however, this large and distinguished collection, whose formation began a century ago, has never been published in its entirety as a museum catalogue. Ranging from early medieval, pre-Romanesque stone carvings of the eighth and ninth centuries to works created more than a millennium later, the collection numbers over 350 pieces of Italian sculpture in wood, stone, terracotta, stucco, porcelain and bronze. More than half of the collection consists of sculpture from the fifteenth and sixteenth centuries (or the Early, High and Late Italian Renaissance), and approximately one-fifth dates from the thirteenth and fourteenth centuries (roughly, Italian Gothic sculpture). Although the remainder is more or less equally balanced in number between the eighth to the twelfth centuries, and those pieces from the seventeenth to the early twentieth centuries, the latter group of Italian baroque to nineteenth-century sculpture contains some of the most important and most recently acquired Italian works of art in the collection.
"The collection of Italian medieval sculpture in The Metropolitan Museum of Art and The Cloisters began with the acquisition in 1908 of a Romanesque column statue; today the Museum's holdings comprise more than seventy works dating from the ninth to the late fifteenth century ... The birthplaces of these works range from Sicily to Venice; some typify local styles, others illustrate the intense artistic exchanges taking place within Italy and between Italy and the wider world ... Technological advances of the last decades have made it possible to determine more precisely the materials and techniques from which works of art are made, the history of their alteration, and the mechanisms of their deterioration. Using such techniques, scholars have been able to ascertain, for example, that sculptures previously thought to be modern works carved in the medieval manner were in fact completely authentic. This innovative volume represents a watershed in the study of sculpture: a collaborative dialogue between an art historian and a conservator—between art history and art science—that deepens our understanding of the object we see, while illuminating its elusive, enigmatic history"--From publisher's description.
Painters, draftsmen, goldsmiths, sculptors, and designers, the Pollaiuolo brothers of fifteenth-century Florence produced some of the most beautiful works of the Italian Renaissance.
Perhaps more than any other collector of his generation in the United States, Robert Lehman was interested in acquiring early drawings. He made a great effort to add drawings to the collection of paintings, sculpture, ceramics, glass, and other objects that his father, Philip Lehman, had begun assembling. The 116 Italian drawings analyzed and discussed in this volume are among the more than 2,000 works of art from the collection now housed in the Robert Lehman Wing of The Metropolitan Museum of Art. Robert Lehman's collection demonstrates the variety of drawings produced in Italy from the fifteenth to the seventeenth century, a period when the purposes and techniques of drawings, as well as the aims and abilities of the artist who made them, became increasingly sophisticated. The volume includes an elaborate design for an equestrian monument by Antonio Pollaiuolo, a magnificent study of a bear by Leonardo da Vinci, a cartoon by Luca Signorelli, a study for a vault fresco by Taddeo Zuccaro, and many other drawings that are among the best Italian examples to have survived from that era. Most types of drawings, in a wide variety of techniques, are represented—figure studies, grand compositions, landscapes, cartoons, modelli, and even sculptors' studies. -- Metropolitan Museum of Art website.
Focusing exclusively on examples from the 16th century, the great age of Italian drawing, this stunning volume, published to accompany an early-1994 exhibition at The Metropolitan Museum of Art, includes 124 prized works from The Metropolitan, the Pierpont Morgan Library, the Cooper-Hewitt Museum, and some 20 private collections in New York. The catalogue is organized by school and, within each section, chronologically by artist. Each drawing is illustrated and presented with a discussion that places it in the context of the artist's career and explores the purpose for which it was made. Paper edition (unseen), $35. Annotation copyright by Book News, Inc., Portland, OR
A catalogue of 373 masterpieces from the Linsky's collection of European paintings, medieval and Renaissance objets d'art, sculpture, jewelry, furniture, carpets, clocks, gilt bronzes, and porcelains. -- Metropolitan Museum of Art website.
"Publisdhed in conjuntion with the exhibition: Magnificenza! the Medici, Michelangelo, & the Art of Late Renaissance Florence (In Italy, L'Ombra del genio: Michelangelo e l'arte a Firenze, 1538-1631) ..."--Title page verso.
he revival of the bronze statuette popular in classical antiquity stands out as an enduring achievement of the Italian Renaissance. These small sculptures attest to early modern artists' technical prowess, ingenuity, and desire to emulate—or even surpass—the ancients. From the studioli, or private studies, of humanist scholars in fifteenth-century Padua to the Fifth Avenue apartments of Gilded Age collectors, viewers have delighted in the mysteries of these objects: how they were made, what they depicted, who made them, and when. This catalogue is the first systematic study of The Metropolitan Museum of Art's European Sculpture and Decorative Arts collection of Italian bronzes. The collection includes statuettes of single mythological or religious figures, complex figural groups, portrait busts, reliefs, utilitarian objects like lamps and inkwells, and more. Stunning new photography of celebrated masterpieces by leading artists such as Antico, Riccio, and Giambologna; enigmatic bronzes that continue to perplex; quotidian objects; later casts; replicas; and even forgeries show the importance of each work in this complex field. International scholars provide in-depth discussions of 200 objects included in this volume, revealing new attributions and dating for many bronzes. An Appendix presents some 100 more complete with provenance and references. An essay by Jeffrey Fraiman provides further insight into Italian bronze statuettes in America with a focus on the history of The Met's collection, and Richard E. Stone, who pioneered the technical study of bronzes, contributes an indispensable text on how artists created these works and what their process conveys about the object's maker. A personal reminiscence by James David Draper, who oversaw the Italian sculpture collection for decades, rounds out this landmark catalogue that synthesizes decades of research on these beloved and complex works of art.