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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Florence Triumphant over Pisa
Work_PrefTitle
Florence Triumphant over Pisa
Preferred Title
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Image View:
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Overall view from left side, looking up
Image_Title
Overall view from left side, looking up
Image View
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Creator:
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Giambologna (Flemish sculptor, 1529-1608)
Agent_Display
Giambologna (Flemish sculptor, 1529-1608)
Creator
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Location:
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repository: Museo Nazionale del Bargello (Florence, Tuscany, Italy)
Work_Location_Type_D isplay
repository: Museo Nazionale del Bargello (Florence, Tuscany, Italy)
Location
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Location Note:
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Via del Proconsolo, 4
Work_LocationNotes
Via del Proconsolo, 4
Location Note
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GPS:
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43.770423 11.257947
GPS
43.770423 11.257947
GPS
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Date:
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ca. 1565-1575 (creation)
Work_DateDisplay
ca. 1565-1575 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Mannerist (Renaissance-Baroque style)
Work_StylePeriodDisp lay
Mannerist (Renaissance-Baroque style)
Style Period
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Work Type 1:
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sculpture (visual work)
Work_Worktype1
sculpture (visual work)
Work Type 1
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Classification:
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sculpture
Work_Classification
sculpture
Classification
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Material:
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marble
Work_MaterialDisplay
marble
Material
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Technique:
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carving (processes)
Work_Technique
carving (processes)
Technique
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Measurements:
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262 cm (height)
Work_MeasurementDisp lay
262 cm (height)
Measurements
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Description:
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The death of Michelangelo in 1564 led to the Medici being given by his heir the nearly finished group of Victory that had remained locked up in his studio ever since he had left Florence in 1534. Furthermore, the wedding of Prince Francesco de’ Medici to Joanna of Austria in the following year required grandiose decorations for the Palazzo Vecchio, Florence. The idea was thus conceived of commissioning Giambologna to create an allegorical group as a pair to Michelangelo’s Victory; its subject was to be politically relevant, Florence Triumphant over Pisa. Giambologna was thereby led to reconsider the problem of uniting two figures in an action group. A full-scale working model in plaster (Florence, Accademia) was ready in time to be painted white to resemble marble and exhibited at the wedding. A marble version (Florence, Bargello) was carved considerably later (1575), and then largely by his assistant, Pietro Francavilla. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The death of Michelangelo in 1564 led to the Medici being given by his heir the nearly finished group of Victory that had remained locked up in his studio ever since he had left Florence in 1534. Furthermore, the wedding of Prince Francesco de’ Medici to Joanna of Austria in the following year required grandiose decorations for the Palazzo Vecchio, Florence. The idea was thus conceived of commissioning Giambologna to create an allegorical group as a pair to Michelangelo’s Victory; its subject was to be politically relevant, Florence Triumphant over Pisa. Giambologna was thereby led to reconsider the problem of uniting two figures in an action group. A full-scale working model in plaster (Florence, Accademia) was ready in time to be painted white to resemble marble and exhibited at the wedding. A marble version (Florence, Bargello) was carved considerably later (1575), and then largely by his assistant, Pietro Francavilla. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A1-GB-MB-FTP-A02
Image_OriginalVendor ID
7A1-GB-MB-FTP-A02
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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