Tullio lombardo biography of nancy
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Italian, Perhaps Lombard, 16th Century
Small marble panels in high relief depicting mythological subjects were extremely popular in the North of Italy in the 1520s. They were generally produced for cultured patrons, with themes drawn from classical literary sources. It seems likely that works of this nature – especially given their small size – were used to decorate the studioli of the most important members of the intellectual aristocracy. These private spaces, usually housing written material and antique curiosities, were furnished with works of modern sculpture when antique pieces became difficult to source.
Inspired by the Antique Roman sculptures of Venus at her Bath, this small, engaging relief displays the artist’s familiarity with North Italian sculpture by the Lombardo family. Led by Pietro (1435-1515) but best known through the sculpture of his sons Antonio (1458-1516) and Tullio (1455-1532), this premier family of artists were active in the Veneto from the latter part of the 15th century to the second quarter of the 16th century. Their prominence and classicizing style influenced their contemporaries working in the region, including Simone Bianco (active 1512-1553) and Gianmaria Mosca (1495/99 – after 1573).
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A. Markham Schulz, Giamma • University Collections Gallery, Harvard Art Museums This exhibition highlights artistic innovation and creativity in Africa as seen primarily through the traditions of ceramic arts from across the continent and over its long history. Countering the assumption that African arts and societies are largely unchanging and bound to traditions and customs, the remarkable diversity of objects and styles on display here tells a different story. A selection of more than 50 works on loan from the Peabody Museum of Archaeology and Ethnology at Harvard University, including those by newly discovered Nigerian artist Alice Osayewe, are shown alongside contemporary photographs from the Harvard Art Museums permanent collections. The unique malleability and plasticity of clay, as well as its prominent use in global art contexts, make it ideal for exploring not only African art forms and aesthetics in particular, but also broader questions of design. By its very nature, clay embodies the notion of transformation, shifting from a soft to hard state in the course of firing. This material property relates directly to the many design possibilities inherent in clay. The fabric of clay also represents important values in Africa. A core feature of the earth and broadly available in nearly every envi •Obras de arte perdidas
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