8.12: 17th century- Baroque (I) - Humanities LibreTexts

Tomb of Leo XI Medici, Alessandro Algardi, 1634-44, St. Peter's, Rome. allegories of Magnanimity and Liberality ; relief on sarcophagus of Henry IV of France kneeling at the pope's feet, returning to the Catholic faith; compared to Bernini's tomb of Urban VIII it is static, realistic, independent, and made more for the papacy than for the pope himself; Pluto and Proserpine, Gian Lorenzo Western sculpture in the ancient world of Greece and Rome and from the late Middle Ages to the end of the 19th century twice underwent a progressive development, from archaic stylization to realism; the term progressive here means that the stylistic sequence was determined by what was previously known about the representation of the human figure, each step depending upon a prior one, and not His main rival in sculpture was Alessandro Algardi. Melchiorre Caffà (1635–1667) was the pupil of Ferrata and executed ‘The ecstasy of Saint Catherine’ in S Catherina da Siena a Monte Magnapoli in Rome, before his early death. Filippo Parodi (1630–1702) was an important sculptor from Genoa. Alessandro Algardi. Alessandro Algardi (31 July 159810 June 1654) was an Italian high-Baroque sculptor active almost exclusively in Rome, where for the latter decades of his life, he was, along with Francesco Borromini and Pietro da Cortona, one of the major rivals of Gian Lorenzo Bernini. New!!: Pope Urban VIII and Alessandro Algardi · See You can write a book review and share your experiences. Other readers will always be interested in your opinion of the books you've read. Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them. Alessandro Algardi Bologna 1598 -Rome 1654 Born i n Bologna, Alessandro Algardi was trained i n worked chiefly for the papal court. During the pontificate of the Carracci academy under Ludovico Carracci Innocent X (1644-55) n e created many o f his greatest works, (1555-1619) and w i t h the minor Emilian sculptor including a bronze seated figure o f the pope (1646-50; Rome,Giulio Cesare This casino (not the gambling sort) was part of the Cardinal’s larger palace residence located on the Quirinal Hill in Rome. The fresco represents Aurora (left), goddess of the dawn, bringing forth a new day as she leads the way for Apollo (below), god of light (among many other things), who follows behind in his golden quadriga (a four-horse chariot). That Aurora is bringing the dawn is

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