alb3661179

WORKSHOP OF ANDREA BRIOSCO, CALLED RICCIO. Seated Satyr with a Shell

Seated Satyr with a Shell. Artist: Workshop of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Culture: Italian, Padua. Dimensions: Overall (confirmed): 8 1/4 × 4 5/8 × 6 1/2 in. (21 × 11.7 × 16.5 cm). Date: ca. 1520-30.
The object in the satyr's left hand, possibly s moneybag, is of later facture. Otherwise, the bronze is unusually crisply chased and an altogether superior product of the Riccio workshop. Its details, especially the hair, are more incisive than those of the seated satyr with inkwell, shell, and candlestick in the Frick Collection, New York, which bears the arms of the Paduan Capodivacca family, and much more so than related bronzes in Berlin-Dahlem and in the Louvre. A good variant was in the Chichester-Constable collection.[1] Although the alert poses greatly resemble each other, notably in the gracile grossing of the hooves, it is worth stressing that the composition of each member of this group was completely reworked, as was standard practice in the Riccio workshop.
[James David Draper, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, p. 144, no. 57]
Footnotes:
[1] Sale, Christie's, London, July 19, 1927, no. 33.

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WORKSHOP OF ANDREA BRIOSCO, CALLED RICCIO (1470-1532)

Título:

Seated Satyr with a Shell

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Seated Satyr with a Shell. Artist: Workshop of Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Culture: Italian, Padua. Dimensions: Overall (confirmed): 8 1/4 × 4 5/8 × 6 1/2 in. (21 × 11.7 × 16.5 cm). Date: ca. 1520-30. The object in the satyr's left hand, possibly s moneybag, is of later facture. Otherwise, the bronze is unusually crisply chased and an altogether superior product of the Riccio workshop. Its details, especially the hair, are more incisive than those of the seated satyr with inkwell, shell, and candlestick in the Frick Collection, New York, which bears the arms of the Paduan Capodivacca family, and much more so than related bronzes in Berlin-Dahlem and in the Louvre. A good variant was in the Chichester-Constable collection.[1] Although the alert poses greatly resemble each other, notably in the gracile grossing of the hooves, it is worth stressing that the composition of each member of this group was completely reworked, as was standard practice in the Riccio workshop. [James David Draper, The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, p. 144, no. 57] Footnotes: [1] Sale, Christie's, London, July 19, 1927, no. 33.

Técnica/material:

Bronze, with dark brown lacquer patina

Museo:

Metropolitan Museum of Art, New York, USA

Crédito:

Album / Metropolitan Museum of Art, NY

Autorizaciones:

Modelo: No - Propiedad: No
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Tamaño imagen:

3245 x 4200 px | 39.0 MB

Tamaño impresión:

27.5 x 35.6 cm | 10.8 x 14.0 in (300 dpi)

Palabras clave:

ALEACIÓN DE COBRE • BARNIZ • BRONCE • BRONZE • ESCULTURA EUROPEA Y ARTES DECORATIVAS • ESCULTURA • ESTATUAS • ESTATUILLA • EUROPA • ITALIA • METAL • METROPOLITAN MUSEUM OF ART, NEW YORK, USA • OBRA DE BRONCE • PADUA • PATINA • WORKSHOP OF ANDREA BRIOSCO, CALLED RICCIO