Michelangelo crocifisso per vittoria colonna biography

For Colonna, Michelangelo executed several paintings in the fifth decade of the sixteenth century. All of them are now lost or of controversial attribution, but several sketches and copies by students and admirers of Michelangelo have been preserved. It is not certain that this work was painted by Michelangelo, but it is described by Ascanio Condivi.

It has at any rate proved influential: There are several copies by students of lesser skill in Florence and Rome, a reworking by Ludovico Buti and an adaptation by Lavinia Fontana. Inthe Milanese restaurator and art historian Antonio Forcellino announced that an oil painting of the same subject had been discovered in a private home in Rochester, New York.

The painting had come to the U. The imagery portrays Colonna as the precious liquid—silver or gold—that fills him through narrow spaces—the channels used to fill the mould—and Michelangelo, the finished sculpture hidden therein, to be revealed through the breaking away of the mould. Yale University Press, p. Latinoc. E stato guasto il mio disegno: Mal fa chi tanta fe si tosto oblia.

Bosch : op. Bosch proposes the demands and inquiries involved in relation to the crucifix may have been due to the context of a commission by Colonna, as opposed to being a gift, as often suggested in scholarship. Of all identified casts of the crucifix in this survey, the finest, here identified as the prototype 23 h x Notable are the striations of tooled markings reproduced on the original wax model and the craquelure due to the drying of the wax, translated in the bronze.

The manner in which the original casting support pins have pierced the wax model is evident on the bronze hands and feet of the crucifix, where the bronze rises upward in a parabolical manner, showing where the pin hugged the wax as it exited the palms-and-feet of the model Fig. Although reproducing an original model, it remains indeterminate when the prototype was cast.

The letters between Michelangelo and Vittoria Colonna, here suggested as possibly referring to the crucifix, 1 indicate the sculpture was still in the presumed state of a wax model, not yet cast. If Guglielmo della Porta is theoretically responsible for casting the crucifix, it remains speculative when he may have done so or whether he ever did.

Alternatively, tensions between Michelangelo and Guglielmo, stemming from opinions and actions concerning the tomb for Pope Paul III, may have stalled collaborations between them from onward. Unless a later addition to the crucifix, 6 the feature of a removable perizonium may especially suggest a later casting date closer toward or during the last quarter of the 16th century.

Notably, the style of the perizonium closely follows those he produced for his wax Crucifixion realized ca. A plug is incorporated atop the head, being a strategic location for pouring molten bronze into the investment and sometimes used for fixing a separately cast nimbus. The individually cast arms are also fixed to their independently cast torso, secured in a similar location.

The prototype observably precedes examples found in Spain, evident by its crisp quality and detail. Also lost-in-translation is the characteristic stroke along the eyelids of Christ, apparent on the prototype, greatly diminished on the polychromed bronze casts and entirely lost on the silver casts Fig. A slight reduction of the prototype is also observed in the silver Gomez-Moreno cast no.

The nail beds of the silver cast are also slightly dulled, having solicited their mould from a finer cast like the prototype Fig. Following is a census of all currently identified casts of the crucifix. This census will build upon their work while adding further detailed observations in addition to previously undocumented examples.

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Made: ca. A bronze cast of superb quality, polychromed in natural tones with a removable bronze perizonium. The corpus is attached to a later decorative wooden cross. The Gandia cast is the best-preserved example in regard to its polychromy. The cast closely follows the example in an American private collection no. The toes of the Gandia cast are slightly reduced in-scale and also lack the elongated finesse of the prototype.

The gap between the big-and-index toes is widened, observed also on the American cast. However, a majority of details on the Gandia cast remain identical with the prototype. The perizonium faithfully reproduces the one accompanying the prototype Fig. A previously undocumented bronze cast polychromed in natural tones. The removable perizonium is lost but its former presence on the sculpture is indicated by the freshness of paint still featured along its mid-section.

Judging by the preserved paint, a perizonium following the prototype was formerly included, commensurate with that featured on the Gandia cast no. Like the Gandia cast, this cast once featured a separate crown-of-thorns, now missing. The wooden cross accompanying this cast is probably contemporary and may have been made in the same workshop responsible for the cross accompanying the Cuenca Cathedral cast no.

Cast metal versions of these type of crosses are observed on the Segovia no. Made: probably ca. A polychromed silver cast with a removable perizonium. The painted features of the crucifix indicate it was probably polychromed by Francisco Pacheco. Although Juan Bautista Franconio is cited as having cast examples of the crucifix in bronze, his recognition as a silversmith would have reasonably entailed his production of silver examples as well.

The corpus is attached to a wooden cross reminiscent of the American cast no. It is not known if the Cuenca measurement includes the height of its base, and if not, both crosses may be uniform in size. The titulus and skull are later additions. Noteworthy is the modification made to the perizonium, here cast in silver rather than bronze.

It features a relaxed flare, resulting in drapery that curves and conforms to the proper right leg of Christ. This same feature can be observed on other silver perizoniums cast by Juan Bautista, featured on examples at the Seville Cathedral no. Blanco y Negro, March, no. Harold E. Princeton University Press, pp. A silver cast with a removable gilt perizonium, attached to an elaborate silver and gilt processional cross with inlays and various attributes.

Although speculative, the processional cross accompanying this cast may also be the possible work of Juan Bautista. A silver cast with a removable gilt perizonium, attached to an ebonized wooden cross. This cast is of remarkable quality, suggestive of a cast made by Juan Bautista Franconio and corresponding with the Seville cast no. The attachment mechanism of the perizonium on this cast was restored during the 20th century and is not reflective of its original state.

Morais notes how Diego Velazquez resided at the Royal Palace of Madrid in and had recently, incompleted his paintings of Jeronima Fig. Morais suggests the possibilty Velazquez brought his own example of the crucifix to the Palace and that the Madrid cast could have been cast after it. Additionally, the perizonium accompanying it appears commensurate with the Seville no.

A close examination of the Hebrew featured on the titulus may help date the period of its casting, either before or sometime thereafter see footnote A gilt silver cast with removable perizonium attached to an ebonized wooden cross. Although requiring more careful inspection, this cast shows a faithful translation of the prototype but could also belong to a second generation of casts.

The ebonized wooden cross superficially recalls that of the Gomez-Moreno example. Noteworthy is the loss of the flaring portion of the perizonium which, if not due to damage, could be the result of a discriminating silversmith other than Juan Bautista Franconio. A silver cast with a removable gilt silver perizonium, fixed to a walnut cross, set into a metal reliquary, altogether 71 cm tall.

The cross is possibly not contemporary with the corpus although the preserved titulus may be original. A detailed examination of the Valladolid cast may help assess its proximity to the prototype. The possible lack of the flaring portion of the perizonium, as well as the slightly protruding plug atop the head of Christ, may link it to the same workshop responsible for the Monasterio de Agustinas cast in Toledo no.

Jose Carlos Brasas Egido : La plateria vallisoletana y su difusion. Valladolid, fig. A gilt silver cast with a removable perizonium. The subdued detail of this cast suggests an intermediary michelangelo crocifisso per vittoria colonna biography cast by Juan Bautista Franconio may have served as a model for producing it. The maker of this cast and its accompanying processional cross are documented by bishop Alfonso Messia de Tovar on 16 Februaryin which he identifies Andres de Campo Guevara as the responsible silversmith.

The archives in the Diocese also document minor restorations made to the processional cross in Although difficult to discern, there may be an added chased side-wound of Christ chiseled under his proper right pectoral. Alternatively, Harold Wethey and other scholars have suggested the corpus accompanying this processional cross was cast at an earlier date and that Andres may have added it to his unique processional cross.

Michelangelo crocifisso per vittoria colonna biography: A previously unpublished and outstanding bronze

A debased silver cast, lacking the perizonium and attached to a silver processional cross. The feet of Christ overlap rather than cross over one another at the ankles, a modification made perhaps due to the challenge of successfully casting the lower extremities of the legs and feet. Morais suggests this cast was probably made by Juan Alvarez using the Caminos Astorga crucifix no.

A silver cast with a removable perizonium of alternative design. The corpus is attached to a bronze cross cast after a natural wood-carved original, approximately 72 cm in length, fixed to a gilt bronze ornamental base with silver embellishments. The Segovia cast may have used a polychromed bronze cast by Juan Bautista Franconio as its model.

The current perizonium is held in-place by screws that are located where the original perizonium would have been attached. It is undetermined if the current perizonium replaces an original lost example or if it was made contemporaneously by the foundryman responsible for this cast. Its style remains in-keeping with the early 17th century.

The proper left ear of Christ appears crudely formed on this example, further indicating it is probably an aftercast derived from an earlier painted model, although Morais considered this example a cast made by Juan Bautista. The Segovia cast formerly belonged to the private collection of the Marques de Lozoya. Lozoya hypothesized this cast, along with the Ebro no.

A silver cast with a removable gilt silver perizonium. The corpus is attached to a cast metal cross, after a natural wood-carved original, recalling the Segovia no. The crucifix is set within the same elaborate base featured with the Segovia cast, decorated with silver inlays. A silver titulus is fixed to the top of the cross. The overall fixture of the crucifix and its base is set against an unattributed painting, possibly a later addition and forming a private devotional altar.

Casting plugs are apparent along the surface area of the sculpture. The quality of this cast follows the same observations made concerning the Segovia cast, suggesting its model was a polychromed cast by Juan Bautista Franconio, painted by Pacheco.

Michelangelo crocifisso per vittoria colonna biography: The Renaissance master Michelangelo Buonarroti

In particular, detailed photos allow a comparison between this silver cast and a polychromed bronze example made by Juan Bautista Fig. The chiseled side-wound of Christ, added to this cast, is positioned in the same location it appears rendered in painted blood on the polychromed examples, further suggesting it was cast and chased after guidance from a polychromed example.

The base of the processional cross is elegant and recalls those belonging to the early 17th century. The cherubs, featured in relief, recall models emanating from an Italian source which may suggest the workshop responsible for this object had ties to Italy. The Ourense cast was acquired at auction through Sala Duran in Madrid on 21 Mayformerly belonging to the collection of the Marques del Toro y Conde de los Villares who resided in Segovia.

It more recently was sold in at Alcala Subastas, auction 77, Lotthere ascribed to Juan Bautista Franconio, after a model by Michelangelo. A silver cast compared in its quality with the Segovia no. It is accompanied by a bronze cross cast after a natural wood prototype as observed on the aforementioned casts. According to Gomez-Moreno and Lozoya, this cast was in the private collection of the Marchesa Miranda of Ebro, documented as an earlier possession belonging to their descendant Julia Melendez de Ayones.

Portale Rinascimento. Categoria nascosta: P18 uguale su Wikidata. Crocifissione per Vittoria Colonna. Michelangelo Buonarroti. British MuseumLondra. Conservate, progetti vari Madonna della Scala c. Schiavo morente c. Nome e cognome. Sito web. Salva il mio nome, email e sito web in questo browser per la prossima volta che commento.

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