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Lorenzo Bartolini: Scultore del bello naturale (Lorenzo Bartolini: Beauty and Truth in Marble) exhibition 2011 at the Galleria dell’Accademia in Florence. Florence's Accademia Gallery inaugurated this monographic show in May 2011 dedicated to Lorenzo Bartolini (1777-1850), the artist whose works plays a central role in the development of sculpture in the 1800s in Italy, Europe and the United States.

Venus in her shell

Venus Liebieghaus, Frankfurt am Main

Emma e Julia Campbell (Le sorelle Campbell;

Le ballerine; Le danzatrici)Edimburgo, Scottish

National Gallery

Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre

Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre

Bartolini himself relied on the scientific method of observation and recordkeeping. He worked with models not only in the initial phases of a project, but even after putting chisel to marble. He was convinced that there were no perfect models, but that nature “drops perfection onto a body between two defects.” He would strive to discern perfection in the smallest detail of every model.

Dirce, detta anche Baccante a riposo 1834 ca. Paris, Musée du Louvre

Recumbent bacchante 1834 Chatsworth House Sculpture Gallery Chatsworth, Derbyshire

Recumbent bacchante 1834 Chatsworth House Sculpture Gallery Chatsworth, Derbyshire

Dirce, Chantilly, Musée Condé

Amicizia

Fiducia in Dio, Museo Poldi Pezzoli, Milano

Fiducia in Dio,Museo Poldi Pezzoli, Milano

Fiducia in Dio, Sankt Petersburg, Hermitage museum

Venere (da Tiziano) Venus of Urbino, 16,5 x 34,9 x 11,4 cm, The Museum of Fine Arts, Boston

Venere (da Tiziano) Venus of Urbino, Musée Fabre, Montpellier Agglomération

The Spinner (La filatrice), 1847Palazzo Pretorio, Prato, Italy

The Spinner (La filatrice), 1847Palazzo Pretorio, Prato, Italy

The Spinner (La filatrice), 1847Palazzo Pretorio, Prato, Italy

Giunone Firenze, Galleria dell'Accademia

Ninfa del deserto (Ninfa del serpe)(incompiuta alla morte dell’artista)

La Donati (Beatrice Donati)Firenze, Accademia di Belle Arti

Narciso Firenze, Galleria dell'Accademia

Ninfa dell'Arno (Arnina; Ninfa Oceanina; Peri)Prato, Museo Civico

Charity the Educator 1824, copy in corridor near entrance to Roman Baths, Bath, England

Princess Maria Teresa of Savoy, 1825Galleria Nazionale, Parma

Marina Dmitrievna Gur'eva, nata Naryškina Prato, Museo Civico

Marina Dmitrievna Gur'eva, nata Naryškina Sankt Petersburg, Hermitage museum

Ninfa dello scorpione (Nymph with a Scorpion) Marble. H. 0.90 m; W. 1.24 mMusée du LouvreCommissioned by Prince Charles de Beauvau and presented at the Salon of 1845.

Ninfa dello scorpione (Nymph with a Scorpion)Detail

Ninfa dello scorpione (Nymph with a Scorpion)Details

Ninfa dello scorpione (Nymph with a Scorpion) Sankt Petersburg, Hermitage Museum

Ninfa dello scorpione (Nymph with a Scorpion) Sankt Petersburg, Hermitage Museum

The first marble version of this late sculpture was exhibited in Paris at the Salon of 1845 and was hugely successful. We can judge just how popular the sculpture was by the number of copies now to be found in various museums around the world. The Hermitage example was commissioned by Tsar Nicholas I, who visited Bartolini's studio at the end of 1845. Work was begun by the master himself but it was completed after his death by Giovanni Dupré, one of the best Bartolini's pupils.

La Table aux Amours (The Demidoff Table), 1845Metropolitan Museum of Art

Marble Diam. 137.2 cm, H. 162.6 cm

Commissioned by Count Anatoly Nicolaevich Demidoff, this subject is a complex, cosmological allegory best described in the sculptor's own words: "Stretched out upon the plan of the world is Cupid, god of generation, sustaining and watching over the symbolic genius of dissolute wealth without virtue, who snores in his sleep … dreaming of past diversions in pleasure. Left to himself, the genius of ambitious rectitude in work sleeps the agitated sleep of misfortune and glory … his head extending beyond the periphery of the world." The original plaster is in the Gipsoteca Bartoliniana, Florence.

Jean Auguste Dominique Ingres (1780–1867) Portrait of Lorenzo Bartolini Louvre Museum

Lorenzo Bartolini (7 January 1777 – 20 January 1850) was an Italian sculptor who infused his neoclassicism with a strain of sentimental piety and naturalistic detail which led him furthermore Romanticism, while he drew inspiration from the sculpture of the Florentine Renaissance rather than the overpowering influence of Antonio Canova that circumscribed his Florentine contemporaries.Bartolini was born in Vernio, near Prato, Tuscany.After studying at the Florentine Academy, honing his skills and reputation as a modeller in alabaster, he went in 1797 to Paris, where he studied painting under Frédéric Desmarais, and afterwards sculpture under François-Frédéric Lemot. The bas-relief Cleobis and Biton, with which he gained the second prize of the Academy in 1803, at once established his fame as a sculptor and gained for him a number of influential patrons. His bas-relief of the Battle of Austerlitz was among those executed for the column erected in Place Vendôme. He also executed many minor pieces for Vivant-Denon, besides portrait busts of the opera composers Méhul and Cherubini. His great patron, however, was Napoleon, for whom he executed a colossal bust, and who sent him, on the recommendations of his sister Elisa Baciocchi, to Accademia Carrara in Bergamo in 1807, to teach sculpture, in spite of local opposition. Here he remained as the quasi-official portrait sculptor to the Buonapartes till after the fall of Napoleon. He then took up his residence in Florence, where he resided till his death.

Sound: P.I. Tchaikovsky - Souvenir de Florence II. Adagio cantabile e con moto

III.Allegretto moderato

IV.Allegro vivace

Text and pictures: Internet

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Presentation: Sanda Foişoreanu

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