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Hercules and Diomedes (1550)
Hercules and Diomedes (1550)
By Vincenzo de’ Rossi (1525-1587), Florence.
Crafted in Italian Carrara Marble.
A famous image of the Renaissance, this museum quality statue depicts one of the twelve mythic labors of Hercules. Rossi, a follower of Michelangelo, was commissioned to sculpt the myth in which Hercules throws Diomedes to his own man-eating mares. Cast in bonded Carrara marble, each detail is finished with care by the artisans of Italy’s Santini Workshop. Mounted on a black solid marble base.
Grande: 8"Wx7½"Dx20"H. 13 lbs.
Medium: 4"Wx4"Dx12"H. 2 lbs.
Small: 2"Wx2"Dx6"H. 1 lb.
Item#
Product
Qty
Price
SN10009
Hercules and Diomedes Statue (Grande)
$349.00
SN10048
Hercules and Diomedes Statue (Medium)
$98.95
SN22102
Hercules and Diomedes Statue (Small)
$35.00
Rossi, Vincenzo (di Raffaello) de
(b Fiesole, 1525; d Florence, 1587).
Italian sculptor. He began his career as an apprentice to Baccio Bandinelli, possibly in 1534. By 1546 he had completed his training and moved to Rome. In 1547 he received his first independent commission, from the society of artists known as the Pontificia Accademia dei Virtuosi al Pantheon, to execute the Young Christ with St Joseph for the chapel in the Pantheon. St Joseph, the society's patron saint, is twice life-size and rendered with almost excessive attention to detail, particularly in the decorative cape that falls over his shoulders. His toga is deeply undercut, exaggerating the effects of light hitting the form, and his face is similarly chiselled to accentuate the eyes and decorative plaits of hair and beard. These effects, as well as the extremely long torso of the saint and almost gargantuan left hand, suggest that de' Rossi was endeavouring to compensate for the viewing angle of the spectator. The figure of Christ is life-size and accordingly looks diminutive beside St Joseph. Nevertheless, the composition of the group is balanced in that St Joseph's stance and gesture and the inclination of his head are mirrored in the pose of his son. This practice and the adoption of a frontal viewpoint (derived from Bandinelli) is repeated in de' Rossi's subsequent figural groupings in progressively more sophisticated ways.
Source: "Artist's biographies." 2002. -
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