Saturday, August 24, 2019

The Touch of Color: Pastels at the National Gallery of Art


National Gallery of Art, Washington, DC
September 29, 2019 through January 26, 2020

In a major new exhibition opening this fall, the National Gallery of Art will examine the beauty and depth of pastel, tracing its rich history from the Renaissance to the present day. The Touch of Color: Pastels at the National Gallery of Art will feature some 70 exquisite examples drawn entirely from the Gallery’s permanent collection, including many works never before exhibited. The Touch of Color opens on September 29, 2019, and continues through January 26, 2020.

The Touch of Color is a chance for our visitors to experience the marvelous qualities of pastel in the hands of great artists,” said Kaywin Feldman, director, National Gallery of Art. “The Gallery’s pastel collection is remarkably deep, with nearly every major period in the medium’s long, full history represented. The strength of the collection gives us a rare opportunity to present an exhibition of this scope and significance.”

Exhibition Organization
The exhibition is organized by the National Gallery of Art, Washington.

About the Exhibition
The Touch of Color: Pastels at the National Gallery of Art examines how artists through the centuries adopted different techniques and approaches to pastel, experimenting with this colorful and versatile medium to achieve exciting, often unexpected effects. With a single stroke of a pastel stick, the artist applies both color and line. The line can be left intact or smudged to create passages of velvety tone. Finished works range from the richly illusionist pastel “paintings” of the 18th century to the diaphanous sketches and colorful abstractions of the 19th and 20th centuries.
The origins of pastel date to the Renaissance and are linked with colored chalk, a naturally occurring substance mined in a limited range of colors. Pastel is formed using powdered pigment and a binding medium. The exhibition opens with a section on this early period, including preparatory sketches by Federico Barocci and Jacopo Bassano who used pastel and colored chalk to plan the distribution of light and color in their studies for oil paintings.

Artists found pastel ideal for depicting the soft textures of human skin and sumptuous fabric. Early 18th-century artists such as Rosalba Carriera used the medium almost entirely for highly finished portraits. Carriera’s studio in Venice became a tourist attraction as aristocrats on the Grand Tour visited to commission portraits or admire the examples on view. Two of her works—Allegory of Painting (1730s) and Sir John Reade, Bart. (1739) are featured in the exhibition.

By the mid-18th century, French pastelists had reached unprecedented levels of technical brilliance. Foremost among them was Maurice-Quentin de La Tour, whose portrayal of his teacher, Claude Dupouche (c. 1739), exemplifies his dazzling skill. La Tour was renowned for his ability to mimic textures ranging from the glint of metal to the glow of satin and for the immediacy of his portraits, which appear to capture his sitters in mid-conversation. Several French women, including Adélaïde Labille-Guiard, followed Rosalba’s example and became successful pastelists.

The craze for pastels spread to Britain where it was fueled by travelers as they arrived home from the Grand Tour with portraits by Rosalba or Hugh Douglas Hamilton, who is represented here by the spectacular full-length Frederick North, Later Fifth Earl of Guilford (1780s). Artists such as John Russell later marketed smaller and more intimate pastels to middle-class patrons. Pastel was perfect for portraits: as a dry medium, it was faster, cleaner, and more portable than oil paint; fewer sittings were required and artist could easily travel to patron. Finished works, their entire surfaces coated with velvety pastel, were considered paintings rather than drawings. Although nearly all pastels from this period are portraits, this section includes a pair of rare still lifes by Antoine Berjon, acquired by the Gallery earlier this year.

Pastel fell out of favor early in the 19th century. When artists returned to it later in the century, they broke with traditional approaches. Among the most influential figures was Jean-François Millet, represented in the exhibition by two drawings from the 1860s. The muted colors and expressive hatching of his pastoral scenes represented a radical departure from the meticulous “paintings” of the previous century. Millet’s work helped to inspire an international pastel revival. Pastel’s immediacy appealed to plein-air artists as well as to the impressionists.

https://uploads7.wikiart.org/images/claude-monet/waterloo-bridge-1901-1.jpg!HalfHD.jpg


Claude Monet’s Waterloo Bridge (1901) is one of a series made to study the effects of winter fog on the Thames.





 Image result for Object ID: 5197-010  Edouard Manet  Madame Michel-Lévy



Edouard Manet
Madame Michel-Lévy
, 1882
pastel on canvas
overall: 74.2 x 51 cm (29 3/16 x 20 1/16 in.)
framed: 98.4 x 74.3 cm (38 3/4 x 29 1/4 in.)
National Gallery of Art, Washington, Chester Dale Collection


Edouard Manet used pastel mainly for portraits, such as Madame Michel-Lévy (1882). The Gallery is particularly rich in the works of Edgar Degas, one of the most creative pastelists. Degas experimented with a wide range of wet and dry techniques and sometimes combined pastels with printmaking, as in Café Concert (1876/1877). Among his other works included here is the breathtaking Young Woman Dressing Herself (1885). Mary Cassatt, Camille Pissarro, and Paul Gauguin are all represented in this section of the exhibition.

The dual role of pastel as a medium for both painting and drawing inspired new enthusiasm in the works of American artists of the late 19th century. James McNeill Whistler’s ethereal colored sketches of Venice, such as The Palace; white and pink (1879/1880), show how pastel lends itself well to providing highlights of color to subjects sketched in simple lines of graphite or ink. William Merritt Chase and his followers, in contrast, embraced a more painterly approach.














William Merritt Chase Study of Flesh Color and Gold, 1888 pastel on paper coated with mauve-gray grit (on strainer) overall: 45.7 x 33 cm (18 x 13 in.) National Gallery of Art, Washington, Gift of Raymond J. and Margaret Horowit

In Study of Flesh Color and Gold (1888), Chase took full advantage of the lush texture of pastel by blending it into passages of seamless tone.

By the 20th century pastel had broken free of the expectations of earlier centuries. Artists turned to its intense color and soft opacity in countless different ways. Some 20th-century artists experimented only briefly with pastel before turning to other media, and The Touch of Color includes rare pastels by Käthe Kollwitz, Henri Matisse, and Roy Lichtenstein. Jasper Johns sometimes uses pastel to explore the themes of earlier paintings, as in Untitled (from Untitled 1972) (1975/1976). Finally, in the latest work in the exhibition, Breach (2009), G. Daniel Massad uses this fragile medium to depict crumbling autumn leaves and to evoke his recurring theme of the passage of time.

Exhibition Curators
The exhibition is curated by Stacey Sell, associate curator, department of old master drawings, National Gallery of Art, and Kimberly Schenck, head of paper conservation, National Gallery of Art.

Image result for Henri Matisse  Woman with Exotic Plant  , c. 1925

Henri Matisse
Woman with Exotic Plant
, c. 1925
pastel on wove paper coated with sawdust
overall: 66.1 x 51.4 cm (26 x 20 1/4 in.)
framed: 90.1 x 76.2 x 8.2 cm (35 1/2 x 30 x 3 1/4 in.)
National Gallery of Art, Washington, Chester Dale Collection
Object ID: 5197-013

Image result for Jacopo Bassano  The Mocking of Christ, 1568

Jacopo Bassano
The Mocking of Christ, 1568
colored chalks on blue laid paper
overall: 41.3 x 52.5 cm (16 1/4 x 20 11/16 in.)
National Gallery of Art, Washington, Andrew W. Mellon Fund


Image result for Everett Shinn  Over the Audience, 1934–1940


Everett Shinn
Over the Audience, 1934–1940
pastel on blue laid paper
overall: 28.5 x 37.5 cm (11 1/4 x 14 3/4 in.)
National Gallery of Art, Washington, Bequest of Julia B. Engel
Object ID: 5197-021

Image result for Everett Shinn  Fifth Avenue Bus, 23rd Street and Broadway, 1914

Everett Shinn
Fifth Avenue Bus, 23rd Street and Broadway, 1914
pastel and charcoal on paperboard
overall: 48 x 65 cm (18 7/8 x 25 9/16 in.)
National Gallery of Art, Washington, Bequest of Julia B. Engel
Object ID: 5197-022

4753-007

Mary Cassatt
The Black Hat, c. 1890
pastel on tan wove paper
overall: 61 x 45.5 cm (24 x 17 15/16 in.)
National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon

Image result for nga Camille Pissarro  A Peasant Girl in a Straw Hat  , c. 1892

Camille Pissarro
A Peasant Girl in a Straw Hat
, c. 1892
pastel over black chalk on laid paper
overall: 60.4 x 34.8 cm (23 3/4 x 13 11/16 in.)
National Gallery of Art, Washington, Gift of Evelyn Stefansson Nef and Mr. and Mrs. James T. Dyke
Object ID: 5197-035

preview

Odilon Redon
Saint George and the Dragon
, 1880s and c. 1892
charcoal and pastel on tan wove paper
overall: 53.7 x 37.5 cm (21 1/8 x 14 3/4 in.)
National Gallery of Art, Washington, Gift of GTE and the New Century Fund
Object ID: 5197-037

preview

Jean-Baptiste Greuze
The Well-Loved Mother
, 1765
pastel with colored chalks and stumping on light golden-brown laid paper
overall: 44 x 32.2 cm (17 5/16 x 12 11/16 in.)
National Gallery of Art, Washington, New Century Fund
Object ID: 5197-039



John Singleton Copley
John Temple
, 1765
pastel on tan laid paper mounted on canvas (on strainer)
overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.)
National Gallery of Art, Washington, Patrons' Permanent Fund

Image result for George Luks  Breadline, 1900
George Luks
Breadline, 1900
pastel on paperboard
board (sight): 48.26 x 73.66 cm (19 x 29 in.)
National Gallery of Art, Washington, Corcoran Collection (Estate of Susie Brummer)
Object ID: 5197-075





Friday, August 23, 2019

WILLIAM BLAKE - Tate Britain

Tate Britain 


11 S e p t e m b e r 2 0 19 – 2 F e b r u a r y 2 0 2 0 

This autumn, Tate Britain will present the largest survey of work by William Blake (1757-1827) in the UK for a  generation. A visionary painter, printmaker and poet, Blake created some of the most iconic images in the history  of British art and has remained an inspiration to artists, musicians, writers and performers worldwide for over two  centuries. 

This ambitious exhibition will bring together over 300 remarkable and rarely seen works and rediscover  Blake as a visual artist for the 21st century. Tate Britain will reimagine the artist’s work as he intended it to be experienced. Blake’s art was a product of his  tumultuous times, with revolution, war and progressive politics acting as the crucible of his unique imagination,  yet he struggled to be understood and appreciated during his life. 

Now renowned as a poet, Blake also had grand  ambitions as a visual artist and envisioned vast frescos that were never realised. For the first time,  
 

The Spiritual  Form of Nelson Guiding Leviathan c.1805-9 

 

and The Spiritual Form of Pitt Guiding Behemoth c.1805 will be digitally  enlarged and projected onto the gallery wall on the huge scale that Blake imagined. The original artworks will be displayed nearby in a restaging of Blake’s ill-fated exhibition of 1809, the artist’s only significant attempt to create a  public reputation for himself as a painter. Tate will recreate the domestic room above his family hosiery shop in  which the show was held, allowing visitors to encounter the paintings exactly as people did in 1809. 

The exhibition will provide a vivid biographical framework in which to consider Blake’s life and work. There will be  a focus on London, the city in which he was born and lived for most of his life. The burgeoning metropolis was a  constant inspiration for the artist, offering an environment in which harsh realities and pure imagination were  woven together. His creative freedom was also dependent on the unwavering support of those closest to him, his  friends, family and patrons. Tate will highlight the vital presence of his wife Catherine who offered both practical  assistance and became an unacknowledged hand in the production of his engravings and illuminated books. 

The  exhibition will showcase a series of illustrations to 

https://upload.wikimedia.org/wikipedia/commons/7/7b/William_Blake_-_Christian_with_the_Shield_of_Faith.jpg

Pilgrim's Progress 1824-27:

 and a copy of the book The complaint,  and the consolation Night Thoughts 1797, now thought to be coloured by Catherine. 

Blake was a staunch defender of the fundamental role of art in society and the importance of artistic freedom.  Shaped by his personal struggles in a period of political terror and oppression, his technical innovation, and his  political commitment, these beliefs have inspired the generations that followed and remain pertinent today. 

The Ancient of Days, by William Blake


William Blake (1757-1827)

'Europe' Plate i: Frontispiece, 'The Ancient of Days'

1827

Etching with ink and watercolour on paper

232 x 120mm

The Whitworth, The University of Manchester


Image result for William Blake (1757-1827)  Catherine Blake
William Blake (1757-1827)

Catherine Blake

1805

Graphite on paper

286 x 221 mm

Tate. Bequeathed by Miss Alice G.E. Carthew 194

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William Blake (1757-1827)

Albion Rose

c. 1793

Colour engraving

250 x 211 mm

Courtesy of the Huntington Art Collections


Image result for William Blake (1757-1827)  Capaneus the Blasphemer
William Blake (1757-1827)

Capaneus the Blasphemer

1824-1827

Pen and ink and watercolour over pencil and black

chalk, with sponging and scratching out

374 x 527 mm

National Gallery of Victoria, Melbourne




William Blake (1757-1827)

The Ghost of a Flea

c.1819

Graphite on paper

200 x 153 mm

Private Collection

Print made by William Blake, 1757–1827, British, Jerusalem, Plate 28 Proof Impression, ca. 1820, Relief etching with pen and black ink and watercolor on medium, smooth wove paper, Yale Center for British Art, Paul Mellon Collection

William Blake (1757-1827)

Jerusalem, plate 28, proof impression, top design

only

1820

Relief etching with pen and black ink and

watercolour on medium, smooth wove paper

111 x 159 mm

Yale Center for British Art (New Haven, USA)



William Blake, Newton, 1795–c.1805, color print, ink and watercolour on paper, Tate



William Blake (1757-1827)

Pity

c.1795

Colour print, ink and watercolour on paper

425 x 539 m

Tate


Tate  Britain’s exhibition will open with Albion Rose c.1793, an exuberant visualisation of the mythical founding of Britain,  created in contrast to the commercialisation, austerity and crass populism of the times. 

A section of the exhibition  will also be dedicated to his illuminated books such as Songs of Innocence and of Experience 1794, his central  achievement as a radical poet. 

Additional highlights will include a selection of works from the Royal Collection and some of his best-known  paintings including Newton 1795-c.1805 and Ghost of a Flea c.1819-20. This intricate work was inspired by a séance- induced vision and will be shown alongside a rarely seen preliminary sketch. The exhibition will close with The  Ancient of Days 1827, a frontispiece for an edition of Europe: A Prophecy , completed only days before the artist’s  death. 

William Blake will be curated by Martin Myrone, Lead Curator pre-1800 British Art, and Amy Concannon Assistant  Curator, British Art 1790-1850. 

The exhibition will be accompanied by a catalogue from Tate Publishing.

Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence



 The Frick Collection
 September 18, 2019, through January 12, 2020
Bertoldo di Giovanni, Hercules on Horseback (detail), ca. 1470–75, bronze, Galleria Estense, Modena, Su concessione del Ministero per i Beni e le Attività Culturali - Archivio fotografico delle Galleria Estense; photo: Valeria Beltrami

This fall, The Frick Collection presents the first exhibition devoted to the Renaissance sculptor Bertoldo di Giovanni (ca. 1440–1491). It shines a long-overdue light on the ingenuity and prominence of the Florentine artist, who was a student of Donatello, a teacher of Michelangelo, a favorite of Lorenzo de’ Medici, and an active collaborator with many other artists. By uniting nearly his entire extant oeuvre—more than twenty statuettes, reliefs, medals, a life-sized statue, and a monumental frieze never before shown outside of Italy—the show demonstrates the artist’s creative process and ingenious design across media, his engaging lyrical style, and especially, the essential role he played in the development of Italian Renaissance sculpture. Indeed, Bertoldo was one of the earliest sculptors since antiquity to create statuettes in bronze, an art form that became ubiquitous in prestigious collections during the fifteenth century and thereafter. 

The exhibition was organized by Aimee Ng, Curator; Alexander J. Noelle, Anne L. Poulet Curatorial Fellow; and Xavier F. Salomon, Peter Jay Sharp Chief Curator, with the assistance of Julia Day, Conservator.

Comments Salomon, “The Frick is the only institution outside of Europe thatowns a statuette by Bertoldo, and we have long desired the opportunity to study and present this artist’s work in great depth. We are thrilled that the resulting monographic display—on view only in New York—will finally bring into focus Bertoldo’s unique position at the heart of the artistic and political landscape of fifteenth-century Florence. Mostappropriately our team has enjoyed working on this project in partnership with that city’s esteemed Museodel Bargello.”

The catalogue that accompanies Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence is the most substantial publication ever produced on the artist.

A PIVOTAL FIGURE RECONSIDERED IN HIS OWN LIGHT 

Initially, Bertoldo developed his skills under the aegis of Donatello, inheriting his models and, upon the master’s death, completing the pulpits that were commissioned to adorn the Basilica of San Lorenzo in Florence. Bertoldo went on to gain the life-long patronage and friendship of the state’s de facto ruler, Lorenzo de’ Medici, eventually moving into the Medici palace and creating numerous objects for his patron, some of which were designed as propagandistic tools. Bertoldo was even appointed the custodian and curator of Lorenzo’s famed garden of antiquities near San Marco, where he instructed the gifted pupils studying the relics, one of whom was Michelangelo, whose creative genius flourished under the master’s guidance. His legacy, however, was largely written out of history by Michelangelo, who fashioned his own identity as a self-taught artist divinely blessed with ability.

Michelangelo’s biographers, including the art historian Giorgio Vasari, reduced Bertoldo’s role significantly, mentioning him only in passing while focusing more extensively on the pioneering creativity of Donatello, the magnificent patronage of the Medici family, and the staggering genius of Michelangelo. Modern scholarship, as a result, has largely followed this precedent. The exhibition and catalogue offer a comprehensive exploration of Bertoldo’s work, reconsidering the sculptor’s associations with Donatello, Lorenzo, and Michelangelo, which are central to his narrative. These relationships, however, are reframed, thereby allowing Bertoldo to be appreciated in his own right, his artistic identity no longer overshadowed but, rather, enhanced by his connections to three of the most important figures of the Renaissance.

OBJECTS CHART A CAREER OF COMMISSIONS ACROSS ITALY AND BEYOND

While many of the sculptor’s contemporaries, including Sandro Botticelli and Andrea del Verrocchio, were also frequently patronized by the Medici family, Bertoldo was Lorenzo’sfavorite. By the end of his life, Bertoldo was known as his patron’s “familiar” and traveled with him as part of his retinue—serving as an entertainer, confidant, and designer—and valued for much more than his sculptural output. Hewas granted a place in Lorenzo’s household, eventually dying in the Medici villa at Poggio a Caiano before completingthe monumental frieze forits facade. Some of the bronzes on display in the exhibition were originally designed for the Medici palace, commissioned by Lorenzo himself, including the famous Battlerelief(illustrated on page 4). While Lorenzo was Bertoldo’s most illustrious patron, the sculptor received commissions from other leading figures. The Hercules on Horseback statuette for example, was probably cast for Ercole Id’Este, Duke of Ferrara, perhaps in celebration of his marriage to the princess of Naples. The objects included in the exhibition chart Bertoldo’s commissions from Rome to Padua, and even as far afield as Constantinople, revealing his significant network of patrons.

CREATIVE PROCESS REVEALED BY DESIGN ACROSS MANY MEDIA

Bertoldo’s artistic production in wood, metal, and terracotta is reconsidered, exploring the innovation of the sculptor’s work across media revealing both his versatility as well as his ability to create a unified style, mediated through diverse scale, media, and hands. The objects shed light on his creative process—the development of a sculpture from idea to design to production—which has puzzled scholars for the past century. While certain stylistic elements unify his artistic output, the various materials used necessitated different approaches for their fabrication. It is clear, through documents and inscriptions as well as technical analysis conducted for the exhibition, that Bertoldo—not known to have had a workshop of his own—enlisted other artists to help transform his models into artworks. By bringing these sculptures together, the exhibition elucidates hisrole as a designer, modeler, and collaborator.

The majority of Bertoldo’s sculptural production falls into three categories: statuettes, reliefs, and medals. In many media, Bertoldo demonstrated his witty, lyrical style that combined iconographic innovation with the use of motifs from ancient sources. The resulting visual language is both instantly recognizable as an invention by Bertoldo, yet layered with classical resonance.

The Shield Bearer, purchased in 1916 by Henry Clay Frick along with fifty Renaissance bronzes from the holdings of the late J.P. Morgan, is displayed publicly for the first time with its pendant from Vienna’s Liechtenstein: The Princely Collections. Reunited, the two Shield Bearers reveal Bertoldo’s combination ofimagery associated with the fantastical fauns of the Arcadian forest, the ancient hero Hercules, and the medieval fable of the monstrous “wild man.” The two statuettes present multivalent identities, corresponding neither to each other nor to any established iconography, thereby facing the viewer with an intriguing game of identification designed to beguile the learned Renaissance mind.

The Bellerophon Taming Pegasus displays Bertoldo's engagement with antique texts as he transformed the words of the ancient poet Pindar into his own version of the myth. Heralded by modern scholars as one of the most beautiful small bronzes ever produced, the sculpture is signed in Latin “Bertoldo modeled me; Adriano [Fiorentino] cast me.”The bronze is thus a prime example of Bertoldo's artistic collaboration in which he provided the design and model yet other hands physically cast his sculptures. The Bellerophon, when compared to the other five statuettes on view, serves as a cardinal point for examining Bertoldo’s deft detailing of the surfaces of his bronzes, illustrating a consistency of intricate marks that unite the appearance of such works.


The five bronze reliefs displayed in the exhibition include scenes from the life of Christ to mythological festivities. They range in size from diminutive and intimate to the grand, arresting vision of a melee presented in the Battle, Bertoldo’s largest bronze, which, according to modern scholars, is "the most important of [Bertoldo’s] surviving works."

The Battle is an imaginative reconstruction of a severely damaged ancient sarcophagus. He intentionally departed from the traditional depiction of Romans fighting Barbarians, which is clearly delineated on the sarcophagus, and instead fashioned a scene of organized chaos in which the figures attack one another in seemingly endless combinations, with no underlying logic or allegiances. The central figure, adorned with the lion skin and club of Hercules as well as the helmet of Hermes, presents an identity that is as conflated and unclear as the battle itself. Bertoldo conceived of the relief with an unfixed narrative, thereby encouraging discussion amongst the viewers who attempted to discern its subject.

Bertoldo is known to have designed six medals, the prime examples of which are included in the exhibition. All of the medals demonstrate the sculptor's adept ability to present the convincing likeness of the sitter on the obverse accompanied by an inventive allegorical scene or incredibly detailed historical event on the reverse, an impressive feat given the relative nascence of this medium.

The Pazzi Conspiracy medal, however, reveals Bertoldo's ability to revolutionize the art form derived from ancient currency. Unlike any other medal, this work collapses obverse and reverse, fusing portraiture, allegorical figures, and historical depictions together. The medal recounts the attempted coup led by the Pazzi family against the Medici brothers, Lorenzo and Giuliano, in 1478. Each side shows the bust of one brother hovering above his fate during the attack on holy ground in the Florentine cathedral, flanked by allegorical figures that underline the tragedy of Giuliano's murder and the celebration of Lorenzo's deliverance from harm. Commissioned by Lorenzo himself as part of a propagandistic campaign of interrelated artwork and literature, the innovative medal provided a visual component to the commentaries, poems, and elegies produced by the prominent writers in the Medici circle in response to the event. This double-portrait medal, intended to shock, was distributed across Europe to garner support for Florence, which was embroiled in war with the Pope, Rome, and Naples as a result of the assassination.


The largest sculpture Bertoldo designed was the terracotta frieze for the portico of the Villa Medici at Poggio a Caiano. Spanning over fifteen meters long and located directly above the main entrance, the frieze originally adorned the facade of Lorenzo's country villa. The monumental frieze is presented in its entirety in the exhibition, marking the first time that all five sections have traveled beyond Tuscany. The narrative divisions align with the architecture of the villa itself, designed by Giuliano da Sangallo, although the precise interpretation of the imagery continues to elude scholars. It is generally assumed that the composition is either an allegory of time or an allegory of the journey of the soul, based on ancient texts. It is almost certain that this complex iconography drawn from antique sources was devised by a humanist in the Medici circle as a celebration of Lorenzo and his personal motto “Time Returns.” Bertoldo would have worked closely with both his patron and the poet who provided the underlying structure of each scene. He also collaborated closely with numerous artisans to produce the frieze itself; while the design of the overall composition ascribes to Bertoldo’s style, the varying execution of the figures indicates that multiple hands were employed to mold, fire, and glaze the terracotta.

Through the reunion and reconsideration of Bertoldo’s oeuvre, this exhibition seeks to redefine the sculptor by celebrating his distinct style and notable achievements, allowing him to step out of the shadow of Donatello, Lorenzo, and Michelangelo. Bertoldo is presented as an active and influential participant at the nexus of art and politics in Florence. He was a pioneer in the new mediums of bronze statuettes and portrait medals, an innovative designer who found inspiration in classical models yet created his own unique iconography, and a collaborative partner who worked for, with, and instructed some of the most important sculptors of both the Early and High Renaissance. The statuettes, reliefs, medals, statue, and frieze on display reveal Bertoldo's striking ingenuity; it is clear why Lorenzo selected the sculptor as his favorite and why his designs were celebrated as “immortal.”

ABOUT THE PUBLICATION 

Image result for 1. Bertoldo di Giovanni Shield Bearer, ca. 1470–80Gilt bronze

A fully illustratedcatalogue of the exhibition featuring contributions from a team of international scholars, will accompany the exhibition and is available in the museum shop. This book, published in association with D Giles Ltd, London, is by far the most substantial text on Bertoldo ever produced. 300 color illustrations.

Image result for 1. Bertoldo di Giovanni Shield Bearer, ca. 1470–80Gilt bronze

Bertoldo di Giovanni Shield Bearer, ca. 1470–80Gilt bronze H 8 7/8 inches The Frick Collection, New York Photo: Michael Bodycomb 

 Image result for Bertoldo Di Giovanni Hercules on Horseback
Bertoldodi Giovanni Hercules on Horseback, ca. 1470–75BronzeH 10 3/4 inches Galleria Estense, ModenaSu concessione del Ministero per i Beni e le Attività Culturali -Archivio fotografico delle Galleria Estense;photo:Carlo Vannini 



Frick Collection
 Bertoldo di Giovanni and collaborators Frieze for the Portico of the Medici Villa at Poggio a Caiano (detail), ca. 1490 Glazed terracotta22 7/8 x 571 1/4 inches Villa Medicea di Poggio a Caiano, Polo Museale della ToscanaGabinetto Fotografico delle Gallerie degli Uffizi



Frick Collection


Bertoldo di GiovanniOrpheus(detail),ca. 1471BronzeH 17 1/8 inchesMuseo Nazionale del Bargello, FlorenceSu concessione del Ministero per i beni e le attività culturali; photo Mauro Magliani



 Bertoldo di Giovanni The PazziConspiracy (Giulio de' Medici), 1478 BronzeDiam. 2 5/8 inStephen K. and Janie Woo Scher Collection; Promised gift to The Frick Collection, New York; photo: Michael Bodycomb 




Great review