Jennifer Montagu

An in-depth look at the exquisite metal sculpture of the Roman baroque Roman baroque sculpture is usually thought of in terms of large-scale statues in marble and bronze, tombs, or portrait busts. Smaller bronze statuettes are often overlooked, and the extensive production of sculptural silver—much of which is now lost but can be studied from drawings—is frequently omitted from the histories of art. In this book, Jennifer Montagu enriches our understanding of the sculpture of the period by investigating the bronzes that adorn the great tabernacles of Roman churches; gilded silver, both secular and ecclesiastical; elaborately embossed display dishes; and the production of medals. Concentrating on selected pieces by such master sculptors as Bernini and leading metal-workers such as Giovanni Giardini, Montagu examines the often tortuous relationship between patrons and artists and elucidates the relationship between those who provided the drawings or models and the craftsmen who executed the finished sculptures.

Metal Sculpture of the Roman Baroque

Gold, Silver, and Bronze

John Carter Brown

Olympic Games 1996 Olympic Arts Festival, on the occasion of the Centennial of the Modern Olympic Games.

Five Passions in World Art

Rings

A Silversmith and Bronze Founder in Baroque Rome

Antonio Arrighi

Roman baroque sculpture is usually thought of in terms of large-scale statues in marble and bronze, tombs, or portrait busts. Smaller bronze statuettes are overlooked, and the extensive production of sculptural silver--much of which is now lost but can be studied from drawings--is omitted from the histories of art. In these lectures, Jennifer Montagu enriches our understanding of the sculpture of the period by investigating these works in metal: the bronzes that adorn the great tabernacles, which are a prominent feature of Roman churches; the often gilded silver, both secular and ecclesiastical; and elaborately embossed display dishes. She also looks at the production of medals, an essential aspect of metal sculpture that is usually confined to specialist literature. The book concentrates on selected pieces by such master sculptors as Bernini, and leading metal-workers such as Giovanni Giardini. Making extensive use of archival documents and drawings, Montagu examines the often tortuous relationship between the patrons and the artists and elucidates the relationship between those who provided the drawings or models and the craftsmen who executed the finished sculptures. In this way she provides insights into the procedures of the workshops, and at the same time opens our eyes to a new and fascinating area of sculpture.

Draws on contemporary biographies and a wealth of hitherto unpublished archival material to illuminate the position and practice of the Baroque sculptor, to enable the reader to appreciate, understand and evaluate the sculptural monuments of the Roman Baroque.

The Industry of Art

Roman Baroque Sculpture

Rudolf Wittkower

Joseph Connors

This classic survey of Italian Baroque art and architecture focuses on the arts in every center between Venice and Sicily in the early, high, and late Baroque periods. The heart of the study, however, lies in the architecture and sculpture of the exhilarating years of Roman High Baroque, when Bernini, Borromini, and Cortona were all at work under a series of enlightened popes. Wittkower's text is now accompanied by a critical introduction and substantial new bibliography. This edition will also include color illustrations for the first time. This is the second book in the three volume survey.

Volume 2: The High Baroque, 1625–1675

Art and Architecture in Italy, 1600–1750

Catherine Hess

Andrea Bacchi

Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.

Bernini and the Birth of Baroque Portrait Sculpture

This classic survey of Italian Baroque art and architecture focuses on the arts in every center between Venice and Sicily in the early, high, and late Baroque periods. The heart of the study, however, lies in the architecture and sculpture of the exhilarating years of Roman High Baroque, when Bernini, Borromini, and Cortona were all at work under a series of enlightened popes. Wittkower's text is now accompanied by a critical introduction and substantial new bibliography. This edition-now published in three volumes-will also include color illustrations for the first time.

Volume 3: Late Baroque and Rococo, 1675–1750

Charles Le Brun

In 1688, Charles Le Brun, a French academician, delivered a lecture on expression that was so popular it was published in sixty-three separate editions and influenced all discussion of the subject throughout Europe for over a century. This book reconstructs and translates the text of the lecture (badly garbled in all previous versions), explores the context in which it was conceived, delivered, received, and finally rejected, and reproduces the images that accompanied the lecture.

Jennifer Montagu

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