152
Giovanni Antonio Amadeo, 1447 Pavia - 1522 Milan MADONNA AND CHILD, ca. 1470 58 x 46 cm. Frame
1/5
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
München
Beschreibung
Giovanni Antonio Amadeo,
1447 Pavia - 1522 Milan MADONNA AND CHILD, ca. 1470 58 x 46 cm. Frame dimensions: 71 x 53.5 cm. We would like to thank Giancarlo Gentilini and David Lucidi for this catalogue entry. Marble high relief. This elegant marble relief depicts the Blessed Virgin. Her posture is balanced, her facial expression gentle and noble, the rendering of her face pure and simple. Her attire is decorated virtuously and delicately with softly falling folds. The Blessed Mother tries to hold the lively, naked child in her arms; her hands embrace Baby Jesus lovingly and lift it with slender, slightly bent fingers as if she would like to offer it for worship to the beholder. The little saviour is sitting on his mother's lap, on the hem of her cloak, his legs in a shortened perspective, which dates back to an antique model and is typical for Early Renaissance depictions. It looks as though he wants to reach out to the believers, as his posture, slightly facing the beholder and his little, outstretched inviting arms seem to suggest. The work presents an important component in reconstructing the early oeuvre of the famous Pavia-born sculptor Giovanni Antonio Amadeo. He himself and also the painter Vincenzo Foppa particularly benefitted from the vital Renaissance influence on Lombardic art towards the end of the 1470s, during the reign of the ''enlightened'' Galeazzo Maria Sforza. Amadeo was a versatile artist. He was famous for his marble works, but also a sought-after architect. His terracotta ceramics were as popular as his wood carvings. Amadeo spent his years of apprenticeship (1460-1466) in Milan in the versatile workshop of the brothers Giovanni, Giuniforte and Francesco Solari. He worked on all the Sforza's important edifices such as the Ospedale Maggiore (also known as the Ca' Granda), the Milan Cathedral, the Church of Saint Francis in Piacenza and the Certosa di Pavia, a Carthusian monastery. The artist's early works have only been recognized recently. They are a small number of works from 1466 that Amadeo created with the youngest brother Francesco Solari. They include one of the four ceramic ''angel candle holders'' intended for the Ospedale Maggiore in Milan (today shown at the collection for antique art at the Sforza Castle) and three terracotta lunettes with the archangel Gabriel, the Annunciation and the Samaritan woman at the well created for the basin of the small cloister of the Certosa di Pavia. (Galli, 2003; Cavazzini, 2004, pp. 146 - 147; Id., 2013; Morscheck, 2013). All these works prepare the stylistic change of emerging Renaissance art. The styling is modelled sensitively and delicately with an awareness of anatomy and an evolving three-dimensional definition of the depiction. The present work perfectly corresponds with this early period of Amadeo's work. This can easily be perceived when comparing the Christ Child with other depictions of children's heads created in the workshop of the Solari Brothers as ornaments for the Portal of the Saint Francis Church in Piacenza between 1464 and 1468, or with the vault capitals in the small cloister of the Certosa di Pavia, where the faces have the same slightly sulky expression. The small exaggerated fat cheeks, the striking shape of the eyes and the seemingly swollen eyelids. At the same time, the flat, tense and interrupted fall of the folds of the Virgin's dress, her peaceful sensitivity and her seemingly rehearsed posture are elements that illustrate the departure from the empirical, excessively naturalistic works of the Solari Brothers workshop and point towards Amadeo's first autonomous works around 1470: such as the marble lunette ''Vergine con il Bambino, due Santi e monaci certosini'' of the entrance to the small cloister of the Certosa di Pavia (Cavazzini, 2004), the ''Madonna con il Bambino e angeli cantori'' of the Arcifraternita della Misericordia in Florence (Gentilini, 1981) - both are signed - as well as the small ''Madonna col Bambino'' at
1447 Pavia - 1522 Milan MADONNA AND CHILD, ca. 1470 58 x 46 cm. Frame dimensions: 71 x 53.5 cm. We would like to thank Giancarlo Gentilini and David Lucidi for this catalogue entry. Marble high relief. This elegant marble relief depicts the Blessed Virgin. Her posture is balanced, her facial expression gentle and noble, the rendering of her face pure and simple. Her attire is decorated virtuously and delicately with softly falling folds. The Blessed Mother tries to hold the lively, naked child in her arms; her hands embrace Baby Jesus lovingly and lift it with slender, slightly bent fingers as if she would like to offer it for worship to the beholder. The little saviour is sitting on his mother's lap, on the hem of her cloak, his legs in a shortened perspective, which dates back to an antique model and is typical for Early Renaissance depictions. It looks as though he wants to reach out to the believers, as his posture, slightly facing the beholder and his little, outstretched inviting arms seem to suggest. The work presents an important component in reconstructing the early oeuvre of the famous Pavia-born sculptor Giovanni Antonio Amadeo. He himself and also the painter Vincenzo Foppa particularly benefitted from the vital Renaissance influence on Lombardic art towards the end of the 1470s, during the reign of the ''enlightened'' Galeazzo Maria Sforza. Amadeo was a versatile artist. He was famous for his marble works, but also a sought-after architect. His terracotta ceramics were as popular as his wood carvings. Amadeo spent his years of apprenticeship (1460-1466) in Milan in the versatile workshop of the brothers Giovanni, Giuniforte and Francesco Solari. He worked on all the Sforza's important edifices such as the Ospedale Maggiore (also known as the Ca' Granda), the Milan Cathedral, the Church of Saint Francis in Piacenza and the Certosa di Pavia, a Carthusian monastery. The artist's early works have only been recognized recently. They are a small number of works from 1466 that Amadeo created with the youngest brother Francesco Solari. They include one of the four ceramic ''angel candle holders'' intended for the Ospedale Maggiore in Milan (today shown at the collection for antique art at the Sforza Castle) and three terracotta lunettes with the archangel Gabriel, the Annunciation and the Samaritan woman at the well created for the basin of the small cloister of the Certosa di Pavia. (Galli, 2003; Cavazzini, 2004, pp. 146 - 147; Id., 2013; Morscheck, 2013). All these works prepare the stylistic change of emerging Renaissance art. The styling is modelled sensitively and delicately with an awareness of anatomy and an evolving three-dimensional definition of the depiction. The present work perfectly corresponds with this early period of Amadeo's work. This can easily be perceived when comparing the Christ Child with other depictions of children's heads created in the workshop of the Solari Brothers as ornaments for the Portal of the Saint Francis Church in Piacenza between 1464 and 1468, or with the vault capitals in the small cloister of the Certosa di Pavia, where the faces have the same slightly sulky expression. The small exaggerated fat cheeks, the striking shape of the eyes and the seemingly swollen eyelids. At the same time, the flat, tense and interrupted fall of the folds of the Virgin's dress, her peaceful sensitivity and her seemingly rehearsed posture are elements that illustrate the departure from the empirical, excessively naturalistic works of the Solari Brothers workshop and point towards Amadeo's first autonomous works around 1470: such as the marble lunette ''Vergine con il Bambino, due Santi e monaci certosini'' of the entrance to the small cloister of the Certosa di Pavia (Cavazzini, 2004), the ''Madonna con il Bambino e angeli cantori'' of the Arcifraternita della Misericordia in Florence (Gentilini, 1981) - both are signed - as well as the small ''Madonna col Bambino'' at
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Giovanni Antonio Amadeo,
1447 Pavia - 1522 Milan MADONNA AND CHILD, ca. 1470 58 x 46 cm. Frame dimensions: 71 x 53.5 cm. We would like to thank Giancarlo Gentilini and David Lucidi for this catalogue entry. Marble high relief. This elegant marble relief depicts the Blessed Virgin. Her posture is balanced, her facial expression gentle and noble, the rendering of her face pure and simple. Her attire is decorated virtuously and delicately with softly falling folds. The Blessed Mother tries to hold the lively, naked child in her arms; her hands embrace Baby Jesus lovingly and lift it with slender, slightly bent fingers as if she would like to offer it for worship to the beholder. The little saviour is sitting on his mother's lap, on the hem of her cloak, his legs in a shortened perspective, which dates back to an antique model and is typical for Early Renaissance depictions. It looks as though he wants to reach out to the believers, as his posture, slightly facing the beholder and his little, outstretched inviting arms seem to suggest. The work presents an important component in reconstructing the early oeuvre of the famous Pavia-born sculptor Giovanni Antonio Amadeo. He himself and also the painter Vincenzo Foppa particularly benefitted from the vital Renaissance influence on Lombardic art towards the end of the 1470s, during the reign of the ''enlightened'' Galeazzo Maria Sforza. Amadeo was a versatile artist. He was famous for his marble works, but also a sought-after architect. His terracotta ceramics were as popular as his wood carvings. Amadeo spent his years of apprenticeship (1460-1466) in Milan in the versatile workshop of the brothers Giovanni, Giuniforte and Francesco Solari. He worked on all the Sforza's important edifices such as the Ospedale Maggiore (also known as the Ca' Granda), the Milan Cathedral, the Church of Saint Francis in Piacenza and the Certosa di Pavia, a Carthusian monastery. The artist's early works have only been recognized recently. They are a small number of works from 1466 that Amadeo created with the youngest brother Francesco Solari. They include one of the four ceramic ''angel candle holders'' intended for the Ospedale Maggiore in Milan (today shown at the collection for antique art at the Sforza Castle) and three terracotta lunettes with the archangel Gabriel, the Annunciation and the Samaritan woman at the well created for the basin of the small cloister of the Certosa di Pavia. (Galli, 2003; Cavazzini, 2004, pp. 146 - 147; Id., 2013; Morscheck, 2013). All these works prepare the stylistic change of emerging Renaissance art. The styling is modelled sensitively and delicately with an awareness of anatomy and an evolving three-dimensional definition of the depiction. The present work perfectly corresponds with this early period of Amadeo's work. This can easily be perceived when comparing the Christ Child with other depictions of children's heads created in the workshop of the Solari Brothers as ornaments for the Portal of the Saint Francis Church in Piacenza between 1464 and 1468, or with the vault capitals in the small cloister of the Certosa di Pavia, where the faces have the same slightly sulky expression. The small exaggerated fat cheeks, the striking shape of the eyes and the seemingly swollen eyelids. At the same time, the flat, tense and interrupted fall of the folds of the Virgin's dress, her peaceful sensitivity and her seemingly rehearsed posture are elements that illustrate the departure from the empirical, excessively naturalistic works of the Solari Brothers workshop and point towards Amadeo's first autonomous works around 1470: such as the marble lunette ''Vergine con il Bambino, due Santi e monaci certosini'' of the entrance to the small cloister of the Certosa di Pavia (Cavazzini, 2004), the ''Madonna con il Bambino e angeli cantori'' of the Arcifraternita della Misericordia in Florence (Gentilini, 1981) - both are signed - as well as the small ''Madonna col Bambino'' at
1447 Pavia - 1522 Milan MADONNA AND CHILD, ca. 1470 58 x 46 cm. Frame dimensions: 71 x 53.5 cm. We would like to thank Giancarlo Gentilini and David Lucidi for this catalogue entry. Marble high relief. This elegant marble relief depicts the Blessed Virgin. Her posture is balanced, her facial expression gentle and noble, the rendering of her face pure and simple. Her attire is decorated virtuously and delicately with softly falling folds. The Blessed Mother tries to hold the lively, naked child in her arms; her hands embrace Baby Jesus lovingly and lift it with slender, slightly bent fingers as if she would like to offer it for worship to the beholder. The little saviour is sitting on his mother's lap, on the hem of her cloak, his legs in a shortened perspective, which dates back to an antique model and is typical for Early Renaissance depictions. It looks as though he wants to reach out to the believers, as his posture, slightly facing the beholder and his little, outstretched inviting arms seem to suggest. The work presents an important component in reconstructing the early oeuvre of the famous Pavia-born sculptor Giovanni Antonio Amadeo. He himself and also the painter Vincenzo Foppa particularly benefitted from the vital Renaissance influence on Lombardic art towards the end of the 1470s, during the reign of the ''enlightened'' Galeazzo Maria Sforza. Amadeo was a versatile artist. He was famous for his marble works, but also a sought-after architect. His terracotta ceramics were as popular as his wood carvings. Amadeo spent his years of apprenticeship (1460-1466) in Milan in the versatile workshop of the brothers Giovanni, Giuniforte and Francesco Solari. He worked on all the Sforza's important edifices such as the Ospedale Maggiore (also known as the Ca' Granda), the Milan Cathedral, the Church of Saint Francis in Piacenza and the Certosa di Pavia, a Carthusian monastery. The artist's early works have only been recognized recently. They are a small number of works from 1466 that Amadeo created with the youngest brother Francesco Solari. They include one of the four ceramic ''angel candle holders'' intended for the Ospedale Maggiore in Milan (today shown at the collection for antique art at the Sforza Castle) and three terracotta lunettes with the archangel Gabriel, the Annunciation and the Samaritan woman at the well created for the basin of the small cloister of the Certosa di Pavia. (Galli, 2003; Cavazzini, 2004, pp. 146 - 147; Id., 2013; Morscheck, 2013). All these works prepare the stylistic change of emerging Renaissance art. The styling is modelled sensitively and delicately with an awareness of anatomy and an evolving three-dimensional definition of the depiction. The present work perfectly corresponds with this early period of Amadeo's work. This can easily be perceived when comparing the Christ Child with other depictions of children's heads created in the workshop of the Solari Brothers as ornaments for the Portal of the Saint Francis Church in Piacenza between 1464 and 1468, or with the vault capitals in the small cloister of the Certosa di Pavia, where the faces have the same slightly sulky expression. The small exaggerated fat cheeks, the striking shape of the eyes and the seemingly swollen eyelids. At the same time, the flat, tense and interrupted fall of the folds of the Virgin's dress, her peaceful sensitivity and her seemingly rehearsed posture are elements that illustrate the departure from the empirical, excessively naturalistic works of the Solari Brothers workshop and point towards Amadeo's first autonomous works around 1470: such as the marble lunette ''Vergine con il Bambino, due Santi e monaci certosini'' of the entrance to the small cloister of the Certosa di Pavia (Cavazzini, 2004), the ''Madonna con il Bambino e angeli cantori'' of the Arcifraternita della Misericordia in Florence (Gentilini, 1981) - both are signed - as well as the small ''Madonna col Bambino'' at
Juli-Auktionen
Auktionsdatum
Ort der Versteigerung
Schellingstr. 44
München
80799
Germany
Für Hampel Fine Art Auctions Versandinformtation bitte wählen Sie +49 (0)89 28804-0.
