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287:, for Francesco de' Medici (1562). The latter marble was made for a Medici fountain, its dramatic composition fitting its violent subject from whichever direction it is viewed. It is the only large marble work by Giambologna to have left Florence. It was given to the
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215:(of which he did four versions), poised on one foot, supported by a zephyr. The god raises one arm to point heavenwards in a gesture borrowed from the repertory of classical rhetoric that is characteristic of Giambologna's style.
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created several busts of the sculptor from his death mask. After
Volterra died in 1566, one of these busts was delivered to Giambologna, who around 1570 sculpted a clothed upper torso for the bust.
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for the female figure, and set reference models for representation of the goddess that were influential for two generations of sculptors in Italy and
Northern Europe.
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363:. Small bronze reductions of many of his sculptures were prized by connoisseurs at the time and ever since, for Giambologna's reputation has never suffered eclipse.
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247:. This sculpture, which includes three full figures, was carved from a single piece of marble. Giambologna carved it without a subject in mind, and the name
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at the age of 79; the Medici had never allowed him to leave
Florence, as they rightly feared that either the Austrian or Spanish
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Giambologna became well known for a fine sense of action and movement, and a refined, differentiated surface finish.
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Giambologna, 1529–1608: sculptor to the Medici: an exhibition organised by the Arts
Council of Great Britain etc.
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style, with perhaps less emphasis on emotion and more emphasis on refined surfaces, cool elegance, and beauty.
983:
435:, 1565, Florence. This sculpture exemplifies the long limbs of Giambologna's influential ideal female type.
964:
175:
781:
866:, catalogue edited by Charles Avery and Anthony Radcliffe. London, Arts Council of Great Britain, 1978,
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gave
Giambologna his first major commission, the colossal bronze Neptune and subsidiary figures for the
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would entice him into permanent employment. He was interred in a chapel he designed himself in the
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he sculpted a series of studies of individual animals, from life, which may now be viewed at the
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Giambologna. Court
Sculptor to Ferdinando I. His art, his style and the Medici gifts to Henri IV
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348:. He created the bronze sea-horses and some other sculptures for Bartolomeo Ammannati's
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Giambologna provided as well as many sculptures for garden grottos and fountains in the
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He created allegories strongly promoting
Medicean political propaganda, such as
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who spread
Giambologna's influence throughout Northern Europe, and in Italy on
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Horse by
Giambologna (workshop), probably around 1590. 10 inches (25 cm) high.
300:
251:
was given after it was in place in the Loggia. The sculpture was produced for
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Giambologna was an important influence on later sculptors through his pupils
614:
is erroneous but ubiquitous. The word actually means "kidnap" or "abduction"
191:
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FOUNTAIN OF NEPTUNE florence bronze sea-horses by
Giovanni da Bologna.
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239:(1574–82), a marble sculpture which is featured prominently in the
178:, on 13 January 1563, under the influence of the painter-architect
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382:, who assumed Giambologna's workshop in Florence, and in Rome on
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A Tour of the location of Giambologna's major works in Florence
1013:
669:
Jacques du Broeucq, sculpteur et architecte de la renaissance
631:. The name was one attached by his contemporaries rather his.
56:, with a large workshop producing large and small works in
329:, also in Florence, was completed by his studio assistant
231:, Florence. The title was only assigned after completion.
162:, where he had settled in 1553, initially guested at
1141:
1118:
1051:
374:who left his atelier for Paris in 1601, as well as
261:was also placed in the Loggia dei Lanzi in 1599.
158:Giambologna spent his most productive years in
498:, 1565, Bargello, Florence (maquette in clay,
131:, making a detailed study of the sculpture of
1029:
650:His birth is placed as early as c. 1524; see
253:Francesco I de' Medici, Grand Duke of Tuscany
186:' most important court sculptors. He died in
8:
852:, Florence, Giunti Gruppo Editoriale, 2000,
307:, Norfolk; it was purchased in 1953 for the
590:In many texts, the piece is given the name
1036:
1022:
1014:
629:many neoclassical sculptures on this theme
807:Horner, Susan; Horner, Joanna B. (1884).
327:equestrian statue of Cosimo I de' Medici
16:Flemish-born Mannerist sculptor in Italy
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40:(1529 – 13 August 1608), also known as
295:, at the time of negotiations for the
115:), in 1529. After youthful studies in
7:
885:Biography with a portrait on kfki.hu
656:Biographical Encyclopedia of Artists
264:Giambologna's several depictions of
52:(Italian), was the last significant
1132:Equestrian Monument of Ferdinando I
713:Giambologna: The Complete Sculpture
209:Among his celebrated works are the
810:Walks in Florence and Its Environs
166:. In 1563, he was named a member (
14:
658:, v.2 (Facts on File, 2005): 257.
318:On Michelangelo's death in 1564,
135:. He was also much influenced by
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530:
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486:
461:
440:
421:
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172:Accademia delle Arti del Disegno
1126:Equestrian Monument of Cosimo I
715:. Mt. Kisco, N.Y.: Moyer Bell.
573:Compare the figure of Plato in
1202:17th-century Italian sculptors
1192:16th-century Italian sculptors
1187:16th-century Flemish sculptors
625:an incident in Roman mythology
1:
1155:Fountain of Neptune, Florence
1068:Florence Triumphant over Pisa
737:"Samson Slaying a Philistine"
594:. This mistranslation of the
495:Florence Triumphant over Pisa
350:Fountain of Neptune, Florence
278:Florence Triumphant over Pisa
89:
1149:Fountain of Neptune, Bologna
119:with the architect-sculptor
86:Fountain of Neptune, Bologna
54:Italian Renaissance sculptor
1084:Abduction of a Sabine Woman
1060:Samson Slaying a Philistine
409:Samson Slaying a Philistine
284:Samson Slaying a Philistine
249:Abduction of a Sabine Woman
237:Abduction of a Sabine Woman
224:Abduction of a Sabine Woman
182:, becoming also one of the
174:, just founded by the Duke
1228:
955:The Flagellation of Christ
934:Victoria and Albert Museum
908:Victoria and Albert Museum
344:, and the bronze doors of
309:Victoria and Albert Museum
303:to Sir Thomas Worsley, at
258:Hercules Slaying a Centaur
255:. Another of his marbles,
833:A. Rudigier, B. Truyols:
757:"History of the fountain"
293:Charles, Prince of Wales
139:, but developed his own
99:Giambologna was born in
924:Samson and a Philistine
711:Avery, Charles (1987).
690:. Phaidon. p. 98.
686:Avery, Charles (1987).
340:of Florence and at the
127:in 1550 and studied in
24:Portrait of Giambologna
1197:Italian male sculptors
965:Queensland Art Gallery
890:Giambologna on mega.it
848:Gloria Fossi, et al.,
607:
599:
592:Rape of a Sabine Woman
355:For the grotto of the
232:
151:(the base designed by
96:
34:
1151:(inaugurated c. 1566)
245:Piazza della Signoria
221:
196:Santissima Annunziata
170:) of the prestigious
155:, 1566) in Bologna.
79:
22:
898:Model of a River God
786:Piccoli Grandi Musei
623:The reference is to
454:J. Paul Getty Museum
384:Gian Lorenzo Bernini
270:canon of proportions
109:Habsburg Netherlands
1207:Mannerist sculptors
996:Norton Simon Museum
320:Daniele da Volterra
281:and, less overtly,
176:Cosimo I de' Medici
149:Fountain of Neptune
133:classical antiquity
50:Giovanni da Bologna
986:Rape of Proserpina
554:Villa di Pratolino
519:Buontalenti Grotto
388:Alessandro Algardi
372:Pietro Francavilla
342:Villa di Pratolino
299:; it was given by
233:
164:Palazzo Vecchietti
121:Jacques du Broeucq
97:
35:
1212:People from Douai
1164:
1163:
1100:Apennine Colossus
961:Red Wax Sculpture
858:978-1-912168-14-9
843:978-1-912168-14-9
813:. Smith. p.
782:"Casa Buonarroti"
627:. This is one of
550:Apennine Colossus
357:Villa di Castello
28:Hendrick Goltzius
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936:. Archived from
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579:School of Athens
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479:Loggia dei Lanzi
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368:Adriaen de Vries
241:Loggia dei Lanzi
229:Loggia dei Lanzi
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42:Jean de Boulogne
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828:Further reading
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879:External links
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346:Pisa Cathedral
338:Boboli Gardens
305:Hovingham Hall
268:established a
243:in Florence's
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123:, he moved to
80:Giambologna's
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30:, collection
29:
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1106:
1103:(late 1580s)
1098:
1092:Torrie Horse
1090:
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1074:
1066:
1058:
1044:
999:. Retrieved
991:
985:
973:. Retrieved
969:the original
960:
954:
942:. Retrieved
938:the original
929:
923:
911:. Retrieved
903:
897:
863:
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834:
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790:. Retrieved
788:(in Italian)
785:
776:
765:. Retrieved
761:the original
751:
740:. Retrieved
731:
712:
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687:
668:
667:R. Wellens,
663:
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619:
591:
586:
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569:
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468:
447:
429:Architettura
428:
407:
380:Pietro Tacca
376:Pierre Puget
365:
354:
335:
331:Pietro Tacca
324:
317:
311:through the
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145:Pope Pius IV
137:Michelangelo
98:
81:
49:
45:
41:
37:
36:
23:
1182:1608 deaths
1177:1529 births
1111:(1597–1602)
1087:(1579–1583)
1079:(1571–1573)
1045:Giambologna
850:Italian Art
688:Giambologna
452:, 1571–73,
227:(1574–82),
111:and now in
93: 1567
84:, atop the
38:Giambologna
1171:Categories
1108:Saint Luke
1052:Sculptures
1001:2015-02-20
975:2011-03-15
944:2011-03-15
913:2007-09-22
767:2007-03-16
742:2022-08-09
722:0918825393
639:References
525:, Florence
481:, Florence
301:George III
291:, then to
168:Accademico
64:in a late
44:(French),
1142:Fountains
1119:Monuments
1095:(c. 1585)
1071:(c. 1565)
1063:(c. 1562)
930:Sculpture
904:Sculpture
792:21 August
502:, London)
192:Habsburgs
141:Mannerist
72:Biography
66:Mannerist
517:, 1573,
477:, 1599,
470:Hercules
433:Bargello
361:Bargello
313:Art Fund
188:Florence
160:Florence
105:Flanders
654:, ed.,
604:Italian
575:Raphael
552:in the
394:Gallery
235:In his
212:Mercury
184:Medicis
117:Antwerp
82:Neptune
68:style.
1134:(1608)
1128:(1594)
992:Bronze
870:
856:
841:
719:
694:
608:rapina
600:raptae
474:Nessus
416:London
113:France
62:marble
58:bronze
610:) as
596:Latin
561:Notes
266:Venus
125:Italy
101:Douai
868:ISBN
854:ISBN
839:ISBN
794:2019
717:ISBN
692:ISBN
612:rape
602:(or
472:and
386:and
370:and
325:The
202:Work
129:Rome
60:and
815:199
577:'s
26:by
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994:.
990:.
963:.
959:.
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928:.
906:.
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784:.
676:^
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103:,
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581:.
95:)
88:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
