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182:, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space.
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Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of
Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and moors carved
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and his contemporaries polished his style. Apart from that, the first phase of
Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large
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was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported
Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, moors and reclining river-gods (see ref.).
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Brustolon had many imitators working in his style, both contemporary, and later. The
Venetian sculptor Valentino Panciera Besarel (1829–1902) made upholstered armchairs in the Brustolon manner from the 1860s.
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In 1685 Brustolon returned to the house where he was born at
Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory
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from a crucifix is in the Museo Civico di
Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures,
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Besarel, whose bust of
Brustolon (1894) is at the Museo Correr, was himself commemorated in an exhibition in Verona, 2002 (exhibition catalogue by Massimo de Grassi,
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His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of
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His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the
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36:(20 July 1662 – 25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the
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in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary
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gueridons, endlessly reproduced since the eighteenth century, found their models in
Brustolon's work.
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Andrea
Brustolon, Side table and vase stand, boxwood and ebony, for Pietro Venier
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He was trained in a vigorous local tradition of sculpture in his native
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demanded, were carved with allegories of vanity, fire and music, etc.
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Brustolon's sofa with black slaves covered with embossed leather (
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studio of assistants. Similar to his contemporary in London,
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Indice delle opere d'arte della città e provincia di
Belluno
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of a crucifix, polychromed ivory (Museo Civico di Belluno)
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371:"Un crocifisso inedito di Andrea Brustolon"
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369:Nazzareno Manganello (17 July 2002).
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333:"Scola Levantina and Scola Luzzatto"
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309:"This Day in History: July 20"
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249:, London.
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432:Brustolon
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