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Relevant bibliographies by topics / Baroque Marble sculpture

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Academic literature on the topic 'Baroque Marble sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Baroque Marble sculpture"

1

Tourneur, Francis. "Global Heritage Stone: Belgian black ‘marbles’." Geological Society, London, Special Publications 486, no. 1 (October 15, 2018): 129–47. http://dx.doi.org/10.1144/sp486.5.

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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.

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2

Myer, Donald B., and Abba Lichtenstein. "Washington, a City of Beautiful Bridges: Paradigms to Emulate." Transportation Research Record: Journal of the Transportation Research Board 1549, no. 1 (January 1996): 18–34. http://dx.doi.org/10.1177/0361198196154900103.

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Washington enjoys a unique international focus as a city planned for beauty. It incorporates a monumental baroque plan superimposed on a topography bordered by rivers and hills. Marble monuments and governmental structures carefully range a tree-lined formal landscape in the city's core. Fiercely protected height limits assure as a centerpiece the Capitol dome and monument-lined Mall. Conscious planning and architectural aesthetic effort have resulted in bridges that are an integral part of the nation's capital in 1996. Its structures reveal history, engineering excellence, and undeniable aesthetic import. Six bridges defend this thesis: Arlington Memorial Bridge, sculpture and arches formally carrying the Mall across the Potomac River; Francis Scott Key Bridge, high concrete arches whose silhouette are a major feature of the Potomac Palisades; William Howard Taft Bridge, engineering tour de force (largest unreinforced concrete structure in the world), carrying one of the city's main avenues across Rock Creek Park on multiple arches; Dumbarton Bridge, integrating architecture and sculpture in the parkscape while solving a street misalignment across Rock Creek Park; Connecticut Avenue Bridge over Klingle Valley, Art Deco steel-arched structure; and John Phillip Sousa Bridge, early 20th century axial connection of Pennsylvania Avenue, S.E., over the Anacostia River. Steel, concrete, arches, and trusses make up the aesthetic components of these structures, each in a unique visual context.

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3

Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

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4

Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.

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The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

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5

Lehedza, Anna. "Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in the context of the evolution of memorial plastic between the 16th and 17th centuries." Bulletin of Lviv National Academy of Arts 49, no. 49 (December 25, 2022): 26–42. http://dx.doi.org/10.37131/2524-0943-2022-49-3.

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Basing on the use of principles of a system approach, comparative and historical, semiotic, iconographic, iconic, formal and stylistic methods it has been defined the place and the meaning of Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in Lviv dealing with the topology of memorial plastics and sculptural portrait’s evolution in the modern West-Ukrainian lands at the border of the 16th and 17th centuries; the paper characterizes image-thematic and artistic peculiarities of a landmark and points out identifications of separate personalities among those who have been specified. The study stresses on the fact that the epitaph combines the features of memorial compositions of family prayer kneeling that was popular in the Polish-Lithuanian Commonwealth of the 1550–1575s, and the adoration of the sacred scene by spouses that is presented as iconographic type developed in the 1600–1625s as the imitation of monumental tombstones of noble families’ representatives. The author suggests that except for J. Pfister's desire to avoid usual decisions, lack of space to place sculpture and customers’ wishes to immortalize all representatives of the genus, the composition tiering has been inspired with single tiered family bourgeois epitaphs in the Polish-Lithuanian Commonwealth and the sculptor's tendency to develop multi-level structures. The research demonstrates the portrait’s development in Lviv sculpture that has proved the subordination of the heraldic program to the psychological features of the depicted personalities, its shift from the reproduction as a part of the ancestral organism (the epitaph of the Sholts-Volfovychs’ family) to the creation of the family image as an emergent unity of individuals, and is a characteristic of Boim’s epitaphs. The author highlights the development of Lviv sculptural portrait presented with the visualization of psychological interconnections of Boim’s family representatives, the expression of the essential one at the moment, the depiction of individual one in the associations with generally cultural and over-timed one. The paper focuses on “a-tectonicity”, “belonging to painting”, and dynamic development of the epitaph’s form especially noticed in a group of “Pieta”. The study highlights the integrity of a composition provided with zigzag baroque rhythm, outlining imaginative triangle with prayerfully folded palms of George and Yadviga Boim and the head of the Mother of God, the contrast of white alabaster and black marble background, stressing on central axis with fragmented Crucifixion, cartouche scrolls, the figure of the blessing Christ. The author suggests the statement about the picture at the second level of the composition that is the first from the inscription, not of the son, but of Pavel Georgy Boim’s brother, and in the series as a whole is the adoration of the Pieta by the sons of the family protoplast. The author points out the deformation of the epitaph’s reception under the conditions of its probable transferring from the original surrounding.

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6

Fabbri, Francesca. "Marmi e statue fra le regioni francesi e la Liguria in epoca barocca : le ragioni di un commercio, i risultati di un interscambio." Studiolo 6, no. 1 (2008): 65–87. http://dx.doi.org/10.3406/studi.2008.1212.

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Marbres et statues dans les régions françaises et la Ligurie à l'époque baroque : les motifs d'un négoce, les résultats d’un échange. Le commerce et l'exportation de marbre blanc et coloré, symbole de luxe et d'éternité, a été l'un des ressorts du réseau étroit de relations artistiques, culturelles et économiques que la France et l'Italie ont tissé durant les XVIIe et XVIIIe siècles. Cet article vise à présenter, d'une part, le commerce du marbre, notamment le marbre blanc de Carrare et le marbre rouge de Narbonne. Gérées par les sociétés lombardo-ligures par l'intermédiaire du port de Gênes, ces transactions s'effectuaient du Sud de la France vers l'Italie et des côtes méditerranéennes vers la cour parisienne. D'autre part, il s'agit d'analyser les moyens et les buts des commandes de sculptures génoises baroques par d'éminents prélats, des ordres religieux et de riches marchands et de leur intégration dans différentes régions françaises, particulièrement dans la région provençale.

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7

"PLASTER - POLYESTER CASTING TECHNIQUES IN THE ART OF SCULPTURE." Ulakbilge Dergisi 9, no. 57 (March 30, 2021). http://dx.doi.org/10.7816/ulakbilge-09-57-05.

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Sculpture art forms an integrity within itself in mass and volumetric sense in the period from the first age to the present in the classical sense. Likewise, the art of sculpture made progress by developing itself further with concepts such as mass, volume, emptiness, fullness, light and shadow, which were revealed in the medieval and baroque period. Especially the separation of the sculpture, which was created with classical materials, with different phenomena with the formation process (clay, mud, marble, wood, bronze, etc.) began to express itself as a separate definition with casting processes as well as molding with materials. In this study, mold making processes, which are indispensable of sculpture art, will be examined by using two different casting techniques from sculptures that have been molded. In this context, it is observed that gypsum mold and polyester mold technologies continue to be used today with the developments and changes that they have undergone from the past to the present. To summarize, within the scope of this study, detailed processes related to casting the work whose mold was taken over classical sculpture technology were explained. Keywords: Sculpture, mold, casting, plaster, polyester

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Books on the topic "Baroque Marble sculpture"

1

Carmona, J. Rivas. Arquitectura y policromía: Los mármoles del barroco andaluz. Córdoba: Excma. Diputación Provincial de Córdoba, Area de Cultura, Juventud y Deportes, 1990.

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2

Bellesi, Sandro. I marmi di Giuseppe Piamontini. Firenze: Polistampa, 2008.

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3

Negro, Angela. Bernini e il "bel composto": La Cappella de Sylva in Sant'Isidoro. Roma: Campisano, 2002.

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Negro, Angela. Bernini e il bel composto: La cappella de Sylva in Sant'Isidoro. Roma: Campisano, 2002.

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5

Šourek, Danko. Altarističke radionice na granici: Barokni mramorni oltari u Rijeci i Hrvatskom primorju. Zagreb: Leykam international d.o.o., 2015.

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6

Avino, Luigi. Marmi colorati per l'altare maggiore dell'Annunziata di Salerno: 1716-1774. Salerno [Italy]: Pietro Laveglia, 1993.

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7

Guelfi, Fausta Franchini. Jacopo Antonio Ponzanelli: Scultore, architetto, decoratore : Carrara 1654-Genova 1735 = Jacopo Antonio Ponzanelli : sculptor, architect, decorator. Fosdinovo (Massa-Carrara): Associazione culturale PerCorsi d'arte, 2011.

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8

Roberto, Santamaria, and Silvestri Giuseppe, eds. Jacopo Antonio Ponzanelli: Scultore, architetto, decoratore : Carrara 1654-Genova 1735 = sculptor, architect, decorator. Fosdinovo (Massa-Carrara): Associazione artistico culturale PerCorsi d'arte, 2011.

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9

Pereira, José Fernandes. The sculpture of Mafra. Lisboa: Instituto Português do Património Arquitectónico, 2003.

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Pereira, José Fernandes. The sculpture of Mafra. Lisboa: Instituto Português do Património Arquitectónico, 2003.

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Book chapters on the topic "Baroque Marble sculpture"

1

Lock, Léon E. "Rubens and the Sculpture and Marble Decoration." In Innovation and Experience in Early Baroque in the Southern Netherlands. The Case of the Jesuit Church in Antwerp, 155–74. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.archmod-eb.4.00077.

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