Description
Book SynopsisExamines seventeenth-century sculpture in Rome. Focuses on questions of historical context and criticism, including the interaction of theory and practice, the creative roles of sculptors and patrons, the relationship of sculpture to antique models and to contemporary painting, and contextual meaning and reception.
Trade Review“The reader is sure to be disappointed that there is not another volume on hand to continue the story through the eighteenth century. Of course, the challenge of this sequel would be to find a similar group of authors who could approach their topics with the highest imagination and argue their points as persuasively—and there would also need to be editors like Colantuono and Ostrow, ones intent on uncovering the nitty-gritty of the era’s sculptural practice.”
—C. D. Dickerson III CAA.Reviews
“This collection by Anthony Colantuono and Steven Ostrow is the most important contribution to general sculpture studies of the period since Jennifer Montagu’s Roman Baroque Sculpture, to which it is the ideal complement. And, frankly, I can think of no higher praise for a book with such breadth of scope, clarity, and substance. The introduction is a ‘must-read’ for all students of the topic. In all, this is an impressive contribution to our literature.”
—Tod Marder,Rutgers University
“This important collection of essays challenges, corrects, and changes common views on seventeenth-century sculptural practice and theory in Rome. It debunks academic fairy tales such as Mochi's enervated late style or Bernini's disinterest in relief sculpture. Through a multitude of methodological approaches, this volume elucidates the central role of early modern Roman sculpture for European visual culture and thought at large—and it will have repercussions far beyond its own focus.”
—Eike D. Schmidt,Minneapolis Institute of Arts
“This book is certain to be an essential point of reference for any scholar broaching the subject of sculpture in early modern Rome. It is important for the diversity of its perspectives, the attention paid to particular works and genres, and the sophisticated analyses that breathe intellectual life back into the cold stone, all of which are prefaced by a much needed and comprehensive review of the historiography of the field.”
—Fabio Barry,Stanford University
Table of ContentsContents
List of Illustrations
Preface
Acknowledgments
Introduction
Steven F. Ostrow and Anthony Colantuono
1 The “Accademia dei Scultori” in Late Sixteenth- and Seventeenth-Century Rome
Peter M. Lukehart
2 Francesco Mochi: Stone and Scale
Michael Cole
3 Impossible Apostles: Francesco Mochi’s Saint Peter and Saint Paul for S. Paolo fuori le mura
Estelle Lingo
4 The Poetry of Atomism: Duquesnoy, Poussin, and the Song of Silenus
Anthony Colantuono
5 Orfeo Boselli’s Osservationi della scoltura antica: A Seventeenth-Century Treatise on Sculpture, Its Purpose, and Its Descent into Obscurity
Maria Cristina Fortunati
6 The Sculptural Altarpiece and Its Vicissitudes in the Roman Church Interior: Renaissance Through Baroque
Damian Dombrowski
7 “For we are made a spectacle unto the world, and to angels, and to men”: Alessandro Algardi’s Beheading of Saint Paul and the Theatricality of Martyrdom
Maarten Delbeke
8 “Appearing to be what they are not”: Bernini’s Reliefs in Theory and Practice
Steven F. Ostrow
9 The Poisoned Present: A New Reading of Gianlorenzo Bernini’s Rape of Proserpina
Christina Strunck
10 “Humoring” the Antique: Michel Anguier and the Physiological Interpretation of Ancient Greek Sculpture
Julia K. Dabbs
11 On Causes and Effects: Imitating Nature in Seventeenth-Century Sculpture Between Rome and Paris
Aline Magnien
List of Contributors
Bibliography
Index
