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拍品专文
Ferdinando Tacca fut un des plus importants sculpteurs travaillant sous les Médicis à Florence durant le XVIIe siècle. Héritant de l’atelier de son père qui en hérita lui-même de Giambologna, Tacca fit perdurer son héritage en créant des fontes raffinées de bronzes pour la famille Médicis et de nobles personnalités dans de nombreuses cours européennes. Ferdinando améliora les techniques de ses prédécesseurs Pietro Tacca, Antonio Susini et Giambologna en fondant de superbes bronzes et en augmentant leurs tailles. De son père et de Susini, il adopta le sens maniériste des proportions, l’intérêt pour des compositions complexes et originales, et des éléments techniques de fonte. À cela, il ajouta, comme dans le cas du présent lot, un sens accru de la dramaturgie, ce qui témoigne peut-être de son intérêt pour la conception de scènes de théâtre et indique la tendance artistique générale vers l’art baroque.
En raison du manque de documentation subsistante, une attribution certaine à Tacca n’a pas encore été confirmée pour les deux groupes de lutteurs. Cependant, leurs similitudes stylistiques avec d’autres exemples issus de son travail permettent de présenter des arguments solides en faveur de sa paternité. Par exemple, si l’on compare les figures féminines des groupes Diana e Satiro, Venere e Adone et Ruggero e Angelica (Pratesi, op. cit., pls. 649, 650 et 652 respectivement), on constate plusieurs éléments récurrents tels que le drame général de la composition et l’interaction des deux figures. On s’aperçoit également que l’anatomie des femmes est de proportion amazonienne, tout en conservant un sens de la féminité, comme dans le présent lot. Les figures féminines sont un modèle relativement rare et peu étudié, mais on en connaît au moins deux modèles initiaux possibles : un groupe en bronze que l’on pense avoir été conçu par Barthélemy Prieur vers 1600 conservé à la Wallace Collection de Londres (Mann, loc. cit.) et un groupe en ivoire de Leonhard Kern, vers 1635, conservé au Kunsthistorisches Museum de Vienne (Grünenwald, loc. cit.)
Des exemples de chaque groupe de figures, attribuées à Tacca, sont conservés dans la collection du Metropolitan Museum of Art, New York (inv. 1978.516.8 et 1978.516.7).
Ferdinando Tacca was one of the leading sculptor’s working under the Medici in Florence in the seventeenth century. Inheriting his father’s studio which he in turn had inherited from Giambologna, Tacca continued their great legacy in creating exquisite bronze casts for the Medici family and noble patrons throughout the courts of Europe. Ferdinando improved on the technical capabilities of Pietro Tacca, Antonio Susini and Giambologna by casting superb bronzes in ever increasing scale.
From his father and Susini, he adopted the mannerist sense of proportions, the interest for complex, original compositions, and technical elements such as casting and after-working. To this he added, as in the case of the present lot, a heightened sense of drama - perhaps demonstrative of his interest in theatre stage design and an indication of the general artistic trend towards Baroque art.
Due to the lack of surviving documentation, a secure attribution to Tacca has not yet been confirmed for either wrestling group. However, their stylistic similarities with other examples of his work help present a strong case for his authorship. For instance, in comparing the female figures to the groups of Diana e Satiro, the Venere e Adone and Ruggero e Angelica (Pratesi, op. cit., pls. 649, 650 and 652 respectively), one sees various immediately obvious recurring elements such as the overall drama of the composition and the interaction of the two figures. At closer inspection, what also becomes obvious is that the anatomies of the women are Amazonian in proportion, yet still retain a sense of femininity, as in the present lot. The female figures are a relatively rare and unresearched model but at least two possible prototypes for it are known: a bronze group thought to have been conceived by Barthélemy Prieur from circa 1600 in the Wallace Collection, London (Mann, loc. cit.) and a group in ivory by Leonhard Kern dating to circa 1635 in the Kunsthistorisches Museum, Vienna (Grünenwald, loc. cit.).
Examples of both sets of figures, attributed to Tacca, are held in the collection of the Metropolitan Museum, New York (accession numbers 1978.516.8 and 1978.516.7).
En raison du manque de documentation subsistante, une attribution certaine à Tacca n’a pas encore été confirmée pour les deux groupes de lutteurs. Cependant, leurs similitudes stylistiques avec d’autres exemples issus de son travail permettent de présenter des arguments solides en faveur de sa paternité. Par exemple, si l’on compare les figures féminines des groupes Diana e Satiro, Venere e Adone et Ruggero e Angelica (Pratesi, op. cit., pls. 649, 650 et 652 respectivement), on constate plusieurs éléments récurrents tels que le drame général de la composition et l’interaction des deux figures. On s’aperçoit également que l’anatomie des femmes est de proportion amazonienne, tout en conservant un sens de la féminité, comme dans le présent lot. Les figures féminines sont un modèle relativement rare et peu étudié, mais on en connaît au moins deux modèles initiaux possibles : un groupe en bronze que l’on pense avoir été conçu par Barthélemy Prieur vers 1600 conservé à la Wallace Collection de Londres (Mann, loc. cit.) et un groupe en ivoire de Leonhard Kern, vers 1635, conservé au Kunsthistorisches Museum de Vienne (Grünenwald, loc. cit.)
Des exemples de chaque groupe de figures, attribuées à Tacca, sont conservés dans la collection du Metropolitan Museum of Art, New York (inv. 1978.516.8 et 1978.516.7).
Ferdinando Tacca was one of the leading sculptor’s working under the Medici in Florence in the seventeenth century. Inheriting his father’s studio which he in turn had inherited from Giambologna, Tacca continued their great legacy in creating exquisite bronze casts for the Medici family and noble patrons throughout the courts of Europe. Ferdinando improved on the technical capabilities of Pietro Tacca, Antonio Susini and Giambologna by casting superb bronzes in ever increasing scale.
From his father and Susini, he adopted the mannerist sense of proportions, the interest for complex, original compositions, and technical elements such as casting and after-working. To this he added, as in the case of the present lot, a heightened sense of drama - perhaps demonstrative of his interest in theatre stage design and an indication of the general artistic trend towards Baroque art.
Due to the lack of surviving documentation, a secure attribution to Tacca has not yet been confirmed for either wrestling group. However, their stylistic similarities with other examples of his work help present a strong case for his authorship. For instance, in comparing the female figures to the groups of Diana e Satiro, the Venere e Adone and Ruggero e Angelica (Pratesi, op. cit., pls. 649, 650 and 652 respectively), one sees various immediately obvious recurring elements such as the overall drama of the composition and the interaction of the two figures. At closer inspection, what also becomes obvious is that the anatomies of the women are Amazonian in proportion, yet still retain a sense of femininity, as in the present lot. The female figures are a relatively rare and unresearched model but at least two possible prototypes for it are known: a bronze group thought to have been conceived by Barthélemy Prieur from circa 1600 in the Wallace Collection, London (Mann, loc. cit.) and a group in ivory by Leonhard Kern dating to circa 1635 in the Kunsthistorisches Museum, Vienna (Grünenwald, loc. cit.).
Examples of both sets of figures, attributed to Tacca, are held in the collection of the Metropolitan Museum, New York (accession numbers 1978.516.8 and 1978.516.7).