Sculptures
Sculpture is the twin sister of Painting: their related evolution is represented in the different meaning that have been attributed to an artwork in time.
The Madonna and Child (1423/1440) by Lorenzo GhibertiBiennale Internazionale dell'Antiquariato di Firenze
The evolution of sculpture over the centuries
This section, throught the artworks presented by galleries, provides the landmarks of this evolution by presenting sculptures from the XIV to the XX Century.
The present sculpture is one of the finest known examples of a Madonna and Child composition. The realistic, polychrome rendering, combined with their close, physical proximity, emphasizes their humanity, vulnerability and the deep nature of their love.
The curious way the infant Christ presents the sole of his foot to the worshipper seemingly derives from the popular byzantine iconography of the Madonna Glikophilousa, alluding to part of this object’s function as a tactile, three-dimensional ‘icon’ – because the worshipper would touch the foot of the Christ child in veneration of his sacred infancy.
Christ among the doctors (1495 ca) by Tiburzio del MainoBiennale Internazionale dell'Antiquariato di Firenze
This sculptures was made by Tiburzio del Maino, probably in collaboration with Giovanni Angelo del Maino.
Vulcan forges Jupiter's lighting (XV Century) by Pollaiolo (Bottega)Biennale Internazionale dell'Antiquariato di Firenze
A paif of kneeling angels (unknown - unknown) by Benedetto da RovezzanoBiennale Internazionale dell'Antiquariato di Firenze
The glazed terracotta was often used for sacred sculptures, as we can admire in these interesting examples.
The Virgin and Child and the Young Saint John the Baptist (The Madonna of Humility, or Madonna of the Meadow) (1500 ca - 1500 ca) by Luca della Robbia il giovaneBiennale Internazionale dell'Antiquariato di Firenze
St. John the Evangelist (1508 - 1512 ca.) by Giovanni Angelo del MainoBiennale Internazionale dell'Antiquariato di Firenze
The award for Best Sculpture of the 30th edition of Biaf
The wooden sculpture representing Saint John the Evangelist, by the artist Giovanni Angelo del Maino, exhibited by Galleria Mehringer - Benappi has been awarded the prize of Best Sculpture of the 30th edition of BIAF
Niccolò Piccinino
A celebrated warlord of the 15th century, Piccinino is also remebered for his defeat in the Battle of Anghiari, where the Holy league stopped the army of the Duchy of Milan. A portrait of Piccinino with his iconic hat was also made by Pisanello and it is on display at the Louvre.
GUTTATOIO WITH MEDICI COAT OF ARMS NAVICELLA WITH DOLPHIN FEET AND CROWN AND FLORENTIN LILY IN THE COAT OF ARMS (1568/1588) by OFFICINA GRANDUCALE MEDICEA Casino di San Marco - Fonderia Francesco I De Medici Granduca di ToscanaBiennale Internazionale dell'Antiquariato di Firenze
Hercules fighting the Nemean lion (XVII century - XVII century) by After GiambolognaBiennale Internazionale dell'Antiquariato di Firenze
Fighting scenes due to the twist and tension of the muscles of the figures were an opportunity for artists to test their skills in representing an accurate anatomy of the bodies.
Hercules capturing the stag (XVII century - XVII century) by After Giambologna/SusiniBiennale Internazionale dell'Antiquariato di Firenze
Venus (XVII Century) by Susini (Botega)Biennale Internazionale dell'Antiquariato di Firenze
Bacchus (XVII century) by Giuseppe Maria MazzaBiennale Internazionale dell'Antiquariato di Firenze
Italian Baroque Pietre Dure Panel now in a parcel-gilt ebonized frame (XVII Century) by Opificio delle Pietre DureBiennale Internazionale dell'Antiquariato di Firenze
Bust of Pope Alexander VIII (XVII century - XVII century) by Pietro BarattaBiennale Internazionale dell'Antiquariato di Firenze
Portrait of Andrea (or Cesare Michelangelo) D'Avalos (1695) by Giacomo ColomboBiennale Internazionale dell'Antiquariato di Firenze
marble reliefs of Pope Clement IX and Pope Clement X (Early XVIII century) by anonymousBiennale Internazionale dell'Antiquariato di Firenze
The pair of low reliefs with profiles of Popes, elegantly framed in grey marble are a high quality example of the trend of collecting images of the great and the good of the past, both in ecclesiastical and secular field, which enjoyed widespread appeal in Italian art scene of the first half of the 18th century. They are inspired by coins.
Inscriptions: “CLEMENS. IX P. O. M.” e “P. O. M. CLEMENS. X.”
Marquise Carlo Andrea Ignazio Ginori (1737/1745) by Manifattura GinoriBiennale Internazionale dell'Antiquariato di Firenze
Carlo Ginori is here represented with his wig and a big tie worn on a clothing fastened by a series of buttons.
Diana and Actaeon (mid 18th century) by anonimousBiennale Internazionale dell'Antiquariato di Firenze
Sleeping Cupid (After 1720) by Giuseppe Maria MazzaBiennale Internazionale dell'Antiquariato di Firenze
The sleeping Cupid became a popular theme during the 17th century.
Prancin Horse (1830) by ValayBiennale Internazionale dell'Antiquariato di Firenze
This work is caracterized by the high quality design.
Pair of Magot (mid 19th century) by anonimousBiennale Internazionale dell'Antiquariato di Firenze
A pair of policrome porcelain magot with heads and tilting hands.
The Buttero (1920/1922) by Duilio CambellottiBiennale Internazionale dell'Antiquariato di Firenze
This sculpture is signed and dedicated on the base “Al carissimo Ruberti (To dearest Ruberti) - Duilio Cambellotti”
Rythms (1921/1921) by Attilio SelvaBiennale Internazionale dell'Antiquariato di Firenze
Red Cercopithecoid (1926/1926) by Alfredo BiaginiBiennale Internazionale dell'Antiquariato di Firenze
After the race "Gazelle" (1928/1928) by Sirio TofanariBiennale Internazionale dell'Antiquariato di Firenze
Woman with waves (1928) by Ella LagermanBiennale Internazionale dell'Antiquariato di Firenze
The Comedy (1928/1928) by Ercole DreiBiennale Internazionale dell'Antiquariato di Firenze
Woman at the mirror (1928/1930) by Amleto CataldiBiennale Internazionale dell'Antiquariato di Firenze
Little Idol (1930/1930) by Silvio CeccarelliBiennale Internazionale dell'Antiquariato di Firenze
The Comedy (1931/1931) by Dante MarozziBiennale Internazionale dell'Antiquariato di Firenze
Vaulter (1934/1934) by Eugenio BaroniBiennale Internazionale dell'Antiquariato di Firenze
The Stars (1934/1934) by Giovanni PriniBiennale Internazionale dell'Antiquariato di Firenze
Faith and Light (1934) by Arturo MariniBiennale Internazionale dell'Antiquariato di Firenze
I am gratefull to the staff of the Biennale Internazionale dell’Antiquariato and the Secretary Fabrizio Moretti for allowing this partnership to happen.
Thanks to the galleries that supported and joined this exhibition.
Special thanks to the kindness and patience of the staff of the Google Cultural Insitute and all the friends that have supported me in this project.
Luigi de Benedetto
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