Ambitious Form

1. Auflage 2010
ISBN: 978-0-691-14744-4
Verlag: Princeton Univers. Press

Buch, Englisch, 372 Seiten, Format (B × H): 215 mm x 262 mm, Gewicht: 1698 g

Ambitious Form describes the transformation of Italian sculpture during the neglected half century between the death of Michelangelo and the rise of Bernini. The book follows the Florentine careers of three major sculptors--Giambologna, Bartolomeo Ammanati, and Vincenzo Danti--as they negotiated the politics of the Medici court and eyed one another's work, setting new aims for their art in the process. Only through a comparative look at Giambologna and his contemporaries, it argues, can we understand them individually--or understand the period in which they worked. Michael Cole shows how the concerns of central Italian artists changed during the last decades of the Cinquecento. Whereas their predecessors had focused on specific objects and on the particularities of materials, late sixteenth-century sculptors turned their attention to models and design. The iconic figure gave way to the pose, individualized characters to abstractions. Above all, the multiplicity of master crafts that had once divided sculptors into those who fashioned gold or bronze or stone yielded to a more unifying aspiration, as nearly every ambitious sculptor, whatever his training, strove to become an architect.

Autoren/Hrsg.

Cole, Michael W.

Fachgebiete

• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Bildhauerei, Plastik, Denkmäler
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Renaissance, Manierismus

Inhaltsverzeichnis

Introduction i

Chapter 1: Models 21

Chapter 2: Professions 51

Chapter 3: Naturalism 90

Chapter 4: Pose 121

Chapter 5: Sculpture as Architecture 158

Chapter 6: Chapels 193

Chapter 7: Sculpture in the City 244

Conclusion 283

Photo Credits 287

Notes 293

Acknowledgments 353

Index 357

Über Autor(innen)

Cole, Michael W.
Michael W. Cole is professor of art history at Columbia University. He is the author of "Cellini and the Principles of Sculpture" and the coeditor of "The Idol in the Age of Art", among other books.