{"id":1392,"date":"2017-04-03T14:18:16","date_gmt":"2017-04-03T14:18:16","guid":{"rendered":"http:\/\/cesatiecesati.com\/?p=1392"},"modified":"2023-07-27T14:18:16","modified_gmt":"2023-07-27T14:18:16","slug":"a-fine-florentine-virgin-and-child","status":"publish","type":"post","link":"https:\/\/www.cesatiecesati.com\/en\/a-fine-florentine-virgin-and-child\/","title":{"rendered":"A Fine Florentine Virgin and Child"},"content":{"rendered":"

In the Florentine artistic panorama between the late 16th and the early 17th century we can take for granted the existence of a movement which \u2013 partially opposing the Giambologna tradition \u2013 was oriented towards neo-Renaissance forms of purism, for many aspects similar to those developed in the painting field through the teaching of Santi di Tito and Jacopo da Empoli.
\nThis small alabastrine marble\u00a0Virgin with Child<\/em>\u00a0fully represent this cultural moment.
\nHer character is defined by many and explicit early-sixteenth century elements: from the shape of the dress, with the double clip on the sleeve, to the slow and almost monumental cadence of the pose. The Child is clearly inspired by Andrea del Sarto\u2019s\u00a0Madonna delle Arpie<\/em>\u00a0with the same legs scheme and also clearly influenced by the Angels and Cherubs derived from the Giambologna models especially for the shape of his head; a direct comparison can be also made with two\u00a0Candleholder Angels<\/em>\u00a0in the Madonna dell\u2019Umilt\u00e0 Church in Pistoia, attributed to Pietro Tacca.<\/p>\n

\"\"<\/p>\n

The segmented profile of the long coat falling down along the Madonna right elbow \u2013 and the deep cavity, cutted by short folds of the drapery, diagonally separating the legs \u2013 seem to be inspired by the style of Giovanni Caccini; in fact to this artist \u2013 and particularly to his\u00a0Madonna<\/em>\u00a0in Santa Maria degli Angeli in Florence, and to the one at the Victoria and Albert Museum \u2013 can be referred the nearly \u2018greasy\u2019 sweetness of the Virgin face, highlighted here by the translucent, almost evanescent, alabastrine marble. The attribution of this\u00a0Virgin with Child<\/em>\u00a0to Orazio Mochi comes as a result of this stylistical and chronological analysis. Mochi is a sculptor trained in the Caccini workshop and almost exclusively known for providing the model of the statue depicting the\u00a0Gioco del saccomazzone<\/em>\u00a0(before 1621) in the well known Boboli Garden of Florence. Mentioned by Baldinucci as \u201cone of the most talented sculptors that our city had in his time<\/em>\u201c, we can refer to him \u2013 at least for the invention \u2013 a series of sculptures depicting the Evangelists, (today preserved at the Museo degli Argenti) for the altar and the tabernacle of the Cappella dei Principi in San Lorenzo Church.
\nThis\u00a0Virgin with Child<\/em>\u00a0enriches so significantly the very small number of works by the sculptor, confirming on one hand his special ability to work on a small scale, and on the other hand his important contribution to the birth of the classical-purist movement that Antonio Novelli will significantly represent in the full 17th century.<\/p>\n

Orazio Mochi<\/strong>\u00a0(Montevarchi, 1571 \u2013 1625), attr.<\/em>
\nVIRGIN AND CHILD<\/strong>
\nAlabastrine marble
\nFlorence
\nH. 33 cm<\/p>\n","protected":false},"excerpt":{"rendered":"

In the Florentine artistic panorama between the late 16th and the early 17th century we can take for granted the existence of a movement which \u2013 partially opposing the Giambologna tradition \u2013 was oriented towards neo-Renaissance forms of purism, for many aspects similar to those developed in the painting field through the teaching of Santi …<\/p>\n

A Fine Florentine Virgin and Child<\/span> Read More »<\/a><\/p>\n","protected":false},"author":1,"featured_media":1390,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[18],"tags":[],"class_list":["post-1392","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sculture-en"],"_links":{"self":[{"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/posts\/1392","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/comments?post=1392"}],"version-history":[{"count":1,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/posts\/1392\/revisions"}],"predecessor-version":[{"id":1393,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/posts\/1392\/revisions\/1393"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/media\/1390"}],"wp:attachment":[{"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/media?parent=1392"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/categories?post=1392"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cesatiecesati.com\/en\/wp-json\/wp\/v2\/tags?post=1392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}