Un buste de Cécile de Gonzague : Donatello ?
A marble bust of a woman from Slovak National Museum-Spiš Museum in Levoča was never published nor exhibited. On its base, there is a carved inscription “CECILIAE GONZAGAE ▸ opvs donatelli”. There are many contexts supporting the idea that it is Donatello’s work: the comparable signature, quality, D...
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
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2021
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_213_0020 |
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cairn |
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cairn-RDA_213_0020RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2021-3-page-20?lang=fr https://doi.org/10.3917/rda.213.0020 Un buste de Cécile de Gonzague : Donatello ? Herucová, Marta2021 fre Revue de l'art | 213 | 3 | 2021-08-23 | p. 20-31 | 0035-1326 RDA_21363 A marble bust of a woman from Slovak National Museum-Spiš Museum in Levoča was never published nor exhibited. On its base, there is a carved inscription “CECILIAE GONZAGAE ▸ opvs donatelli”. There are many contexts supporting the idea that it is Donatello’s work: the comparable signature, quality, Donatello’s contacts with Gonzaga’s, relationship of Gonzaga’s to former owners of the bust House of Csáky. Similar wooden bust (in Paris) is attributed to Desiderio da Settignano, Donatello’s follower; this might serve as source for nineteenth century terracotta busts (London), some considered to be from Renaissance (Boston). Neo-Renaissance master Giovanni Bastianini is sometimes connected with these wooden and terracotta busts, but, as far as it is known, he was not in a habit of forging signatures. The general problem of distinguishing Renaissance and Neo-Renaissance works complicates the question of certainty of authorship of the Levoča bust.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
A marble bust of a woman from Slovak National Museum-Spiš Museum in Levoča was never published nor exhibited. On its base, there is a carved inscription “CECILIAE GONZAGAE ▸ opvs donatelli”. There are many contexts supporting the idea that it is Donatello’s work: the comparable signature, quality, Donatello’s contacts with Gonzaga’s, relationship of Gonzaga’s to former owners of the bust House of Csáky. Similar wooden bust (in Paris) is attributed to Desiderio da Settignano, Donatello’s follower; this might serve as source for nineteenth century terracotta busts (London), some considered to be from Renaissance (Boston). Neo-Renaissance master Giovanni Bastianini is sometimes connected with these wooden and terracotta busts, but, as far as it is known, he was not in a habit of forging signatures. The general problem of distinguishing Renaissance and Neo-Renaissance works complicates the question of certainty of authorship of the Levoča bust. |
| author |
Herucová, Marta |
| spellingShingle |
Herucová, Marta Un buste de Cécile de Gonzague : Donatello ? |
| author_facet |
Herucová, Marta |
| author_sort |
Herucová, Marta |
| title |
Un buste de Cécile de Gonzague : Donatello ? |
| title_short |
Un buste de Cécile de Gonzague : Donatello ? |
| title_full |
Un buste de Cécile de Gonzague : Donatello ? |
| title_fullStr |
Un buste de Cécile de Gonzague : Donatello ? |
| title_full_unstemmed |
Un buste de Cécile de Gonzague : Donatello ? |
| title_sort |
un buste de cécile de gonzague : donatello ? |
| publishDate |
2021 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2021-3-page-20?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.213.0020 |
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