.jpg?w=1)
拍品专文
COMPARATIVE LITERATURE:
E. Rigoni: 'Giovanni Minello e la cappella dell'Arca di S Antonio', Atti & Mem. Accad. Patavina Sci., Lett. & A., vol. xlv (1953-4), pp. 90-96.
A. Luchs, Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice: 1490-1530, Cambridge, 1995.
A. Bacchi and L. Giacomelli, eds., Rinascimento e passione per l'antico: Andrea Riccio e il suo tempo, exhibition catalogue, Trent, 2008, pp. 506-507, no. 115.
This relief represents the renowned Macedonian king with flowing locks and wearing his iconic lion's headdress, in this case interpreted as an armored helmet rather than a pelt. It is likely that the artist based his portrait on an ancient coin, gem or cameo: objects that would have appealed to an erudite, humanist audience. The classicizing, idealized treatment of the face in profile link this sculpture to artists working in Northern Italy in the second quarter of the 16th century, particularly those associated with Tullio Lombardo and Simone Bianco (Luchs, op. cit.). The sharp chiseling of the hair, tempered with an almost erotic suppleness of certain features such as the lips, chin and neck recalls figures carved by Giovanni Minello, one of Padua's leading sculptors of the late 15th century. Close parallels may be found in a marble relief from a private collection, which Luca Siracusano has recently attributed to Minello (2008, loc. cit.), as well as several figures from Minello's relief of The Investiture of Saint Anthony (1513-19) in the chapel of Saint Anthony in the Santo, Padua.
Most likely having trained under Pietro Lombardo (Rigoni, loc. cit.), with whom he is documented working between 1463 and 1468, much of Minello's efforts after 1482 were directed toward the completion of the decorations of the Santo, such as designing and executing an ornamented choir-screen for the high altar (dismantled in the 17th century), marble frameworks for Bellano's bronze reliefs for the choir, and redesigning the chapel of Saint Anthony, of which he was named protomaestro in 1500.
E. Rigoni: 'Giovanni Minello e la cappella dell'Arca di S Antonio', Atti & Mem. Accad. Patavina Sci., Lett. & A., vol. xlv (1953-4), pp. 90-96.
A. Luchs, Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice: 1490-1530, Cambridge, 1995.
A. Bacchi and L. Giacomelli, eds., Rinascimento e passione per l'antico: Andrea Riccio e il suo tempo, exhibition catalogue, Trent, 2008, pp. 506-507, no. 115.
This relief represents the renowned Macedonian king with flowing locks and wearing his iconic lion's headdress, in this case interpreted as an armored helmet rather than a pelt. It is likely that the artist based his portrait on an ancient coin, gem or cameo: objects that would have appealed to an erudite, humanist audience. The classicizing, idealized treatment of the face in profile link this sculpture to artists working in Northern Italy in the second quarter of the 16th century, particularly those associated with Tullio Lombardo and Simone Bianco (Luchs, op. cit.). The sharp chiseling of the hair, tempered with an almost erotic suppleness of certain features such as the lips, chin and neck recalls figures carved by Giovanni Minello, one of Padua's leading sculptors of the late 15th century. Close parallels may be found in a marble relief from a private collection, which Luca Siracusano has recently attributed to Minello (2008, loc. cit.), as well as several figures from Minello's relief of The Investiture of Saint Anthony (1513-19) in the chapel of Saint Anthony in the Santo, Padua.
Most likely having trained under Pietro Lombardo (Rigoni, loc. cit.), with whom he is documented working between 1463 and 1468, much of Minello's efforts after 1482 were directed toward the completion of the decorations of the Santo, such as designing and executing an ornamented choir-screen for the high altar (dismantled in the 17th century), marble frameworks for Bellano's bronze reliefs for the choir, and redesigning the chapel of Saint Anthony, of which he was named protomaestro in 1500.