The self-portrait of Baccio Bandinelli in the Isabella Stewart
Gardner Museum, Boston, shows the scupltor pointing not to a work
of marble or bronze, but to a drawing. Bandinelli was particularly
proud of his skills as a draughtsman, and he was prolific in his
production of works on paper. This set him apart from
contemporaries in his profession; many Renaissance sculptors left
us no drawings at all. Accompanying an exhibition at the Gardner
Museum, this publication will put Bandinelli's portrait in context
by looking at the practice of drawing by scupltors from the
Renaissance to the Baroque in Central Italy. A focus of the book
will be Bandinelli's own drawings and the development of his
practice across his career and his experimentation with different
media. Bandinelli's drawings will be compared with those of
Michelangelo and Cellini. The broader question considered, however,
is when, how, and why scupltors drew. EVery Renaissance sculptor
who set out to make a work in metal or stone would first have made
a series of preparatory models in wax, clay, and/or stucco. Drawing
was not an essential practice for sculptors in teh way it was for
painters, and indeed, most surviving sculptors' drawings are not
preparatory studies for works they subsequently executed in three
dimensions. By comparing bot rough sketches and more finished
drawings with related three-dimensional works by the same artists,
the importance of drawing for various individual sculptors will be
examined. When sculptors did draw, it often indicated something
about the artist's training or about his ambitions. Among the most
accomplished draftsmen were artists like Pollaiuolo, Verrocchio,
and Cellini, who had come to sculpture by way of goldsmithery, a
profession that required profieciency in ornamental design. Artists
who soought to become architects, meanwhile - the likes of
Michelangelo, Giambologna, and Ammanati - similarly needed to learn
to draw, since architects had to provide plans, elevations, and
other drawings to assistants and clients and had to imagine the
place of individual figures within a larger multi-media ensemble.
Certain kinds of projects, moreover - fountains and tombs, for
example - required drawings to a degree that others did not.
Sections on the Renaissance goldsmith-sculptor and
sculptor-architect will allow comparison of the place drawing had
in various artists' careers. Beginning with a chapter dedicated to
the importance of draftsmanship in the education of sculptors,
showing works by Finiguerra, Cellini Bandinelli, and Giambologna,
the book will be split up into chapters dealing with the various
challenges scupltors faced while drawing objects in the round,
reliefs, and architectural structures. A central section will focus
on Bandinelli, demonstrating the importance drawing held for him
while he was preparing sculptures and as an independent token of
his artistry.
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