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legs drawn tightly in toward the body. Edwards argues that
Michelangelo took to heart the instruction of early Renaissance sculptor Donatello that "a sculpture should be able to be rolled down a hill and have nothing break off." The presence of an "open profile," Edwards asserts, is definitive of a work being of an artist other than Michelangelo. Edwards does suggest that it is not impossible that Michelangelo may have aided Sangallo with the modelling of the torsos of the original wax or clay figures, however there is no evidence to suggest that this must be so. It should be borne in mind, however, that the "closed profile" was the result of Michelangelo's conceiving each of his marble sculptures from single blocks whose excavation, rough hewing and transport he mostly oversaw. In a sonnet for
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planks: firstly, on the bronzes' link to the
Montpellier drawing, secondly on their similarity in appearance to other works by Michelangelo, and, thirdly, on a neutron scan, conducted in Switzerland, which dated the bronzes to the first decade of the 16th century. The possibility that they might be by Michelangelo excited experts, particularly given that no autograph bronzes by Michelangelo are known to have survived. The display of the bronzes in the Fitzwilliam Museum coincided with a symposium on the bronzes held at the University of Cambridge in July 2015. A dissenting voice was provided by
73:, are a pair of 16th century statuettes, each depicting a nude male figure riding a mythological animal, usually identified as a panther. Mirroring each other in pose, the nude men are distinguished by age, one young, the other bearded. The younger man is 76.6 cm, the other almost 90 cm high. The sculptures are unsigned and the figures and panthers have been separately cast. The bronzes were displayed to the public at the
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with the publication of a comprehensive volume on
Michelangelo's work as a sculptor of bronze and the Rothschild bronzes in particular, edited by Victoria Avery and collecting many of the papers presented at the 2015 symposium. Avery's publication took the attribution to Michelangelo as now proven, eliciting a critical response from
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In
November 2018, the Fitzwilliam Museum announced the completion of its reputed verification of Michelangelo's authorship of the bronzes. This elicited an excited response from the media, focusing on the anatomical similarities between the bronzes and Michelangelo's works. The announcement coincided
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written around 1538-41/44, Michelangelo wrote, "The greatest artist does not have any concept which a single piece of marble does not itself contain within its excess." The tensile strength of bronze sculpture, deriving from a cast of a model, allowed compositions impossible or difficult in marble,
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In 2019, John Vedder
Edwards pointed out that the Rothschild bronzes are composed in an "open profile," with their arms fully extended. This, Edwards argues, is in direct contravention of Michelangelo's principle of organizing his sculptural figures in a classic "closed profile" with the arms and
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in
Montpellier, a plausible copy of a lost work by Michelangelo. This resulted in the display of the bronzes in the Fitzwilliam in 2015, and an accompanying publication by Victoria Avery and Paul Joannides which argued that the bronzes were indeed by Michelangelo. The attribution rested on three
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such as the raised arms of the panther riders, and witnessed in the almost certainly raised arm of
Michelangelo's Pope Julius II in bronze, made in 1508 but destroyed only a few years later. In 2020, Michael Riddick argued that the Rothschild bronzes are more likely to be the work of
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Paul
Joannides, an eminent scholar of Michelangelo's drawings, saw the bronzes in 2002 and was struck by their Michelangelesque qualities. Seeing the bronzes again in 2012, Joannides linked the sculptures to a drawing of a youth astride a leonine animal in the
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who judged the riders and panthers to be a pastiche of independently made sculptures, none of which derive from models by
Michelangelo. A more neutral position on the question of attribution was taken by Daniel Godfrey in
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Zikos, Dimitrios, 'Noble Minds: Adolphe and Julie de
Rothschild: the first owners of the Rothschild bronzes and their collection' in Avery, Victoria (ed.), Michelangelo: Sculptor in Bronze, Cambridge, 2018, pp.
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1878 as the work of Michelangelo, although this attribution was disputed at the time. The works had been acquired the previous year in Venice by Baron
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Avery, Victoria and Joannides, Paul, A Michelangelo Discovery: The Rothschild Bronzes and the Case for their Proposed Attribution, Cambridge, 2015.
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Joannides, Paul, 'The Catalyst: A brief narrative in the first person' in V. Avery, Michelangelo: Sculptor in Bronze, Cambridge, 2018, pp. 271-74
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died in 1957, they were purchased by a French private collector. Over the years, the sculptures had been attributed to other artists, including
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Lives of the Most Excellent Painters, Sculptors, and Architects
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https://www.fitzmuseum.cam.ac.uk/research/michelangelodiscovery
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537:"March 2019, #1392 – Vol 161 | − The Burlington Magazine"
306:"Bronze | Exhibition | Royal Academy of Arts"
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The Art Newspaper - International art news and events
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in Die Welt, a circumspect one by David Ekserdjian.
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1636:A Season of Giants
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935:, 1505–1545
903:Pitti Tondo
159:Musée Fabre
1671:Categories
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1187:Doni Tondo
729:Florence,
719:Sculptures
609:18 January
571:2023-08-01
546:2023-08-01
522:2023-08-01
517:Bloomsbury
498:2023-08-01
384:2023-08-01
226:References
1425:Porta Pia
1148:Paintings
493:0140-0460
484:The Times
135:Sotheby's
1505:Epifania
1363:Florence
765:Crucifix
422:BBC News
281:253-269.
214:See also
50:Location
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895:Gregory
831:Bacchus
360:. html
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1103:Brutus
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1597:David
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803:Angel
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