![]() ![]() The nude from Ancient Roman art is a conceptually perfected ideal person, each one a vision of health, youth, geometric clarity, and organic equilibrium. Notes: Pietro Bazzanti was also known as Pietro Barzanti. This monumental and fine work is illustrated in situ at Bazzanti’s studio circa 1900 among other fashionable works of the period. Elegant handling of textures is further exemplified in the draped fringe of the cloth. The sculptor’s penchant for realism is on full display with the contrasting matte and highly-polished finishes of the gently lapping waves at the figure’s feet, to the jutting rocks and soft skin. The finely-detailed work relates closely to popular figures produced by Bazzanti’s contemporary, Cesar Lapini, whose La Sopresa depicts a young woman stepping back from approaching waves. In 1874 he exhibits his works in London and in 1876 in Philadelphia.īazzanti frequently returned to the subject of 'After the Bath' or 'The Bather' in his works, having carved examples of the bathing Venus after the Antique and in dynamic and dramatic compositions such as the present sculpture. In 1861 the studio was awarded the medal for 'Ercole con cinghiale sulla spalla' (Hercules with boar on shoulder), 'Due Cani' (Two dogs) and 'Cinghiale' (Boar) sculptures at the National Exposition in Florence. The studio was a place where many talented professors and apprentice sculptors specialised in sculpting marble genre scenes and allegorical figures as well as copies of antique and Renaissance sculpture catered to a prominent international clientele which included European and Russian aristocracy, and the industrial fortunes being made in England and Americas drove considerable export demand. Together with his brother, Niccolò Bazzanti (Firenze, 1802-1869) who was also a sculptor, they both worked the sprawling Florentine studio 'Pietro Bazzanti e Figlio' a hugely successful sculpture studio, operated within the family at their gallery on Lungarno Corsini until the mid-twentieth century. Pietro Bazzanti or Barzanti (Italian, 1825-1895) was a 19th century Italian sculptor born in Florence. Barzanti/Florence' (on reverse) and raised on a cylindrical swivelling carved verde antico solid marble pedestal. The smiling and posing young beauty, with bare breasts and back, her right arm juxtaposed over her head, while holding a blanket over her waist with her left hand and standing barefoot by a rocky seawall and wavy shoreline. Sadly, no other of the estimated 200 plaster casts in DU’s collection in the 1890s have survived to the present day.Pietro Bazzanti - Barzanti (Italian, 1825-1895) "After the Bath" - A Very Fine and Large Carved White Carrara Marble Figure of a Semi-Nude Young Maiden Standing by the Sea-Shore. Even today, basic drawing instruction at DU includes assignments to draw the surviving cast of the Venus de Milo. While teaching from antique and Renaissance casts fell out of fashion in the early 20 th century, drawing from such works has not entirely disappeared from the art curriculum. ![]() ![]() It is interesting to note, for example, that New York’s Metropolitan Museum of Art, at the time of its founding in 1870, was devoted to collecting and exhibiting both contemporary art and plaster casts from the antique. Since the group of accepted antique and Renaissance models was limited to a number of precious and unattainable originals, the plaster cast itself cam to take on a unique significance in art education. The emphasis on drawing from antique sculpture (in North American practice, drawing from casts of ancient Greek and Roman statuary) was the core of most programs. In the earliest days of formal art education in Colorado, the accepted measure of art education remained “classical” training-that is to say, training in the academic European tradition. It is a high quality cast, taken from molds that preserved much of the stone texture of the original marble, including chips and losses. We are fortunate to find this cast in reasonably good condition, despite its age. SAAH pre-conservation students were supervised by a professional art conservator as they removed layers of dirt, grime and water-based paints from the cast’s surface. In the winter of 2009, Venus returned to public view after months of conservation work was complete. This sculpture is one of the least understood objects in the University’s art collections: a plaster cast of the Aphrodite of Melos (also known variously as the Venus de Milo, the Venus of Melos, etc.). exhibited at the Louvre Museum, Paris, France Venus de Milo, Plaster cast of original ca. Venus de Milo, plaster cast of original ca. ![]()
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