Donatello, Michelangelo, Cellini: Sculptors' Drawings from Renaissance Italy
Language: English
Published by Paul Holberton Publishing, 2014
- Softcover
- New
Seller: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrelandKennys Bookshop and Art Galleries Ltd.
AbeBooks seller since February 27, 2001
Condition: New
£ 32.49
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Add to basketItem description from seller
"Accompanies the exhibition Donatello, Michelangelo, Cellini: Sculptors Drawings From Renaissance Italy curated by Oliver Tostmann and Michael W. Cole at the Isabella Stewart Gardner Museum, Boston, 23 October 2014-23 January 2015"--from title page verso. Editor(s): Cole, Michael. Num Pages: 256 pages, 100 colour illustrations. BIC Classification: 1DST; ACND; AFF. Category: (G) General (US: Trade). Dimension: 280 x 239 x 22. Weight in Grams: 1140. . 2014. Paperback. . . . .
Seller Inventory # V9781907372704
- Title
- Donatello, Michelangelo, Cellini: Sculptors' Drawings from Renaissance Italy
- Author
- Oliver Tostmann
- Publisher
- Paul Holberton Publishing
- Publication year
- 2014
- Condition
- New
- Binding
- Soft cover
- Language
- English
- ISBN 10
- 1907372709
- ISBN 13
- 9781907372704
A focus of the book will be Bandinelli's own drawings and the development of his practice across his career and his experimentation with different media. Bandinelli's drawings will be compared with those of Michelangelo and Cellini. The broader question considered, however, is when, how, and why scupltors drew. EVery Renaissance sculptor who set out to make a work in metal or stone would first have made a series of preparatory models in wax, clay, and/or stucco. Drawing was not an essential practice for sculptors in teh way it was for painters, and indeed, most surviving sculptors' drawings are not preparatory studies for works they subsequently executed in three dimensions. By comparing bot rough sketches and more finished drawings with related three-dimensional works by the same artists, the importance of drawing for various individual sculptors will be examined.
When sculptors did draw, it often indicated something about the artist's training or about his ambitions. Among the most accomplished draftsmen were artists like Pollaiuolo, Verrocchio, and Cellini, who had come to sculpture by way of goldsmithery, a profession that required profieciency in ornamental design. Artists who soought to become architects, meanwhile - the likes of Michelangelo, Giambologna, and Ammanati - similarly needed to learn to draw, since architects had to provide plans, elevations, and other drawings to assistants and clients and had to imagine the place of individual figures within a larger multi-media ensemble. Certain kinds of projects, moreover - fountains and tombs, for example - required drawings to a degree that others did not. Sections on the Renaissance goldsmith-sculptor and sculptor-architect will allow comparison of the place drawing had in various artists' careers.
Beginning with a chapter dedicated to the importance of draftsmanship in the education of sculptors, showing works by Finiguerra, Cellini Bandinelli, and Giambologna, the book will be split up into chapters dealing with the various challenges scupltors faced while drawing objects in the round, reliefs, and architectural structures. A central section will focus on Bandinelli, demonstrating the importance drawing held for him while he was preparing sculptures and as an independent token of his artistry.
"Synopsis" may belong to another edition of this title.
Kennys Bookshop and Art Galleries Ltd.
Galway, GY, Ireland
AbeBooks seller since February 27, 2001
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