Following the success of their debut show in New York last year, UK dealer Tomasso Brothers is returning to stage a second Scultura exhibition at the Williams Moretti Irving Gallery, New York. Accompanying the exhibition, this beautifully illustrated catalogue presents European sculpture from the 14th to the early 19th centuries. More
Accompanies an exhibition at Isabella Stewart Gardner Museum, Botson
23 October 2014 – 23 January 2015
Donatello, Michelangelo, Cellini: Sculptors’ Drawings from Renaissance Italy
Paperback, 280 x 240 mm 256 pages, 100 colour illustrations
ISBN: 978 1 907372 70 4
Michael C. Cole, Oliver Tostmann, Davide Gasparotto, Alina Payne and Linda Wolk-Simon
The self-portrait of Baccio Bandinelli shows the sculptor pointing to an object that he has placed on a kind of pedestal. Among the most remarkable aspects of this object is that it is not a sculpture but a design in red chalk, a medium that few other Renaissance sculptors used. Bandinelli was particularly proud of his skills as a draughtsman, and he produced hundreds of drawings, many of them as striking and unusual as the one his portrait depicts. His talent and productivity set him apart from other sculptors of his day, most of whom left little evidence of having worked extensively on paper.
This publication, which accompanies an important exhibition at the Isabella Stewart Gardner Museum, puts Bandinelli's portrait in context by looking broadly at the practice of drawing by Renaissance sculptors, including such luminaries as Donatello, Verrocchio, Michelangelo, Cellini and Giambologna. The book surveys two centuries of material, considering rough sketches and more finished sheets, isolated studies and sequences of ideas. Comparing designs on paper to related three-dimensional works by the same artists, the book directly confronts the question of the importance drawing held for sculptors in the period. The authors, who include specialists in the history of sculpture and drawing, among other fields, pose new questions about the creative process and the relation between the arts in Renaissance Italy.
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. The broader question considered, however, is when, how and why sculptors 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 the way it was for painters, and indeed, most surviving sculptors’ drawings are not preparatory studies for works they subsequently executed in three dimensions. 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 proficiency in ornamental design. Artists who sought 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.
This richly illustrated and beautifully produced scholarly catalogue of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill Collection, accompanies an exhibition of the collection at The Frick Collection, New York, opening late January 2014. More
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This is the third in the series of intelligent and lively exhibition catalogues by the Tomasso Brothers – a family richly endowed with great sensitivity to sculpture. They strive to deal in excellence, acquiring bronzes, marbles, terracottas, waxes and ivories which they show in critically acclaimed and enormously successful exhibitions. More
Display and Displacement: Sculpture and the Pedestal from Renaissance to Post Modern (1550-2000) OUT-OF-STOCK
The relationship between sculpture and pedestal is at the intersection of a number of art-historical disciplines, ranging from the history of design, architecture and urbanism to museum studies, yet because of its supporting role it has remained a largely neglected and unstudied field. This book will show how rich a seam it is for investigation. More
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OUT OF STOCK The Mansion House, the palatial city residence of the Lord Mayor of London, is home to one of the capital’s finest collections of British sculpture from the 18th and 19th centuries. The first book on the sculpture ever published, this beautifully illustrated study reveals the subjects of the sculptures, the stories behind the commissions and the importance of the artists themselves. New photography highlights the qualities of the individual sculptures in their historic settings. More
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Bronze has long been used by sculptors to create complex and beautiful forms, three-dimensional realisations of the most vivid human emotions and experiences. The outstanding collection of European bronze sculptures formed by Peter Marino, here catalogued for the first time and beautifully photographed by Maggie Nimkin, is built around an exploration of the human form, as depicted in this lustrous and sensuous material. More
This publication will be the only available English-language monograph to date on sixteenth-century sculptor Pier Jacopo Alari Bonacolsi, also known as Antico. Given Antico’s importance for the history of sculpture this book is a much needed resource in the field and will present new scientific research and the results of technical studeis to be undertaken at the National Gallery of Art. A series of essays places Antico’s life, work and technique in a contextual framework useful for understanding his body of work. In addition to providing an overview of the artist’s acareer, the catalogue will also address key topics topics from his workmanship and craft to his relationship with the court of Mantua. More
After more than 15 years in business Tomasso Brothers are delighted to be hosting their spectacular debut sculpture exhibtion at Adam Williams Fine Art, New York. To mark this seminal exhibition of more than 40 important works they have produced a luxurious catalogue, which aims to represent and describe the sculptures through sophisticated photographs and informative catalogue descriptions. More
The outstanding collection of European sculptures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. More