donetello satin robe

Donetello satin robe
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Parafia św. Karola Boromeusza w Wejherowie

Donetello satin robe
The biomorphic drawings in “Terry Winters: Facts and Fictions,” at the Drawing Center, may appear abstract, but for forty years the Brooklyn-born painter has been heeding the advice of Cézanne: “Treat nature by means of the cylinder, the sphere, the cone.” What’s more, Winters began treating the natural world as an intricately networked system long before digital technologies took over our lives. (Opens April 6.)
The urge to give human bodies sculptural form has been around at least as long as the Venus of Willendorf—which is to say, for about twenty-five thousand years. The Met Breuer starts its story of figurative sculpture a little bit later, in the fourteenth century, with the exhibition “Like Life: Sculpture, Color, and the Body (1300-Now).” The show zeros in on another ancient impulse: to ramp up realism with the application of paint or the addition of fabric. (The Greeks and the Romans did it, and so did Degas, adding a cotton skirt and a satin ribbon to his bronze dancer.) Interspersed with some hundred and twenty sculptures—by artists from Donatello and Rodin to Louise Bourgeois and Isa Genzken—will be wax effigies, mannequins, and anatomical models. (Opens March 21.)

Donetello satin robe
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Donetello satin robe
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Florence favored the sculpted portrait bust, with the sitter shown in a variety of costumes. The sculpted portrait of the Florentine banker , attributed to , conveys a forceful presence by incorporating a number of elements drawn from antique Roman portraiture. Sassetti’s features in this work are highly realistic—he has a large nose and a creased and jowly face. His pupils are inset with lead to give sharpness to his gaze, suggesting shrewdness. His hair is close-cropped, defined with incised chisel lines, as seen on busts of Roman Republicans. He is dressed in a way that summons up antiquity—his cloak suggests the toga worn by ancient upper-class Romans or the type of cloak thrown over armor by Roman military commanders. The stippling of the lower face to indicate the stubble of a beard is another aspect that links Sassetti to antique portraiture. An inscription on the underside of the bust, FRANC. SAXETTUS. FLORENT. CIVIS. ANN. XLIIII (Francesco Sassetti, citizen of Florence, in his forty-fourth year), places the portrait at approximately 1464. At this time Sassetti enjoyed great prominence, building a grand country estate outside the city and serving as chief administrator of the Medici bank. The antique persona he assumes in this portrait is that of a man of learning conversant with the style of antiquity, and of an individual with the probity and dignity of the ancient Romans—qualities of Roman Republicanism celebrated in contemporary Florentine texts. This savvy individual, the bust suggests, is the type of Florentine citizen who helps the state flourish.
This portrait type could be adapted in numerous ways. Painting the head of state, the , Bellini imparted a quasi-divine aspect on the ruler of Venice. In the portrait of Doge , which Bellini created probably soon after Loredan’s accession to ducal office in 1501, Loredan’s gaze is fixed on some distant object, which gives him the appearance of looking far into the future. He wears gleaming white robes brocaded with gold and silver thread, a ducal costume reserved for high feast days of the Christian calendar when associations between Christ and the doge were enacted. The background is now a uniform blue, lending the image a timeless quality.

References:

http://www.newyorker.com/magazine/2018/03/12/spring-art-preview-radical-women-adrian-piper-and-more
http://www.aussietoysonline.com.au/harry-potter-deluxe-robe
http://www.thlog.com/tag/bath-robe/
http://www.italianrenaissanceresources.com/units/unit-5/essays/portraiture-2/
http://en.wikipedia.org/wiki/Donatello

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