Tullio Lombardo and ideal portrait sculpture in Renaissance Venice, 1490-1530

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Tullio Lombardo and ideal portrait sculpture in Renaissance Venice, 1490-1530

Alison Luchs

Cambridge University Press, 1995

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注記

Plates printed from p. 212-306 at end

Bibliography: p. 181-202

Includes index

内容説明・目次

内容説明

This book focuses on Tullio Lombardo's 'double-portrait', those mysterious noble reliefs containing busts of young couples whose meaning has long eluded scholars. Positing their significance as a new genre for private delectation created by a sculptor best known for public, and primarily funerary, monuments, Alison Luchs sets these and related works against the striking rarity of independent portrait sculpture in Venice before the mid-sixteenth century. Among other issues that Luchs considers are Venetian receptivity to the particularly expressive quality of this genre and the style as it develops in relation to contemporary Venetian painting, especially that of Giorgione and his followers. She concludes this richly illustrated study by suggesting that Tullio's extraordinary double-portrait sculpture played a critical role in preparing a Venetian audience for the acceptance of the individualised portrait bust.

目次

  • 1. The Venetian setting and demand for modern sculpture
  • 2. Tullio Lombardo's development as a sculptor
  • 3. The Ca' d'Oro relief and the beginnings of ideal portrait sculpture
  • 4. Ideal portrait sculpture reconsidered: Bacchus and Ariadne and the dialogue with painting
  • 5. Developments in ideal portrait sculpture: the double-portrait relief in other hands
  • 6. Distillations of ideal portrait sculpture: single figure reliefs, religious adaptations, and miniature bronze busts
  • 7. The Venetian bust: ideal portraits, surrogate antiques, and the emerging modern likeness.

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