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Flora torso

Scopri Bartolomeo Cavaceppi: uno scultore romano influenzato da Winckelmann e dalla passione per l’antichità classica! Ammira le sue opere restaurate e i suoi straordinari modelli di statue greche e romane. Un vero maestro del neoclassicismo!

Giclée / Stampe d'arte

Stampa giclée o su tela di qualità museale, con produzione rapida e diverse opzioni di finitura. (Passa alla versione dipinta a mano Passa alla versione dipinta a manoPassa all'immagine Passa all'immagine)

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È possibile inserire dimensioni personalizzate per adattare l'opera a una cornice o a uno spazio specifico. Se la dimensione selezionata non corrisponde alle proporzioni dell'immagine originale, procederemo al ritaglio dell'opera o all'estensione dell'immagine con un bordo specchiato o a tinta unita. Un mockup digitale ti verrà inviato per approvazione prima dell'inizio della produzione.
Si prega di notare che l'anteprima a schermo non riflette il ritaglio o l'estensione effettivi. Solo il mockup mostrerà accuratamente la composizione finale.
Sebbene siano disponibili dimensioni personalizzate, si raccomanda di selezionare una dimensione dall'elenco predefinito per preservare le proporzioni originali.

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Prezzo totale

$ 64

reproduction

Flora torso

Giclée / Stampe d'arte

Dimensioni della riproduzione

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Prezzo totale

$ 64

Descrizione del pezzo

“Under the appearences of Flora is naturally portrayed in this marble a woman distinguished by the greatness of her birth […]. The drapery is noble, rich and well conducted. The head is sculpted with delicacy, and with so much study is the hair”. This words belong to Pietro Vitali, a well-known antique dealer of the 19th century; he admired the artifact in the Torlonia Museum – housed in the homonymouys palace – located in Piazza Venezia in Rome.Our statue, in fact, had a very fascinating as well as tormented story. Probably a work of Bartolomeo Cavaceppi’s studio, a Roman sculptor and restorer from the 18th century, after his death the statue will be taken into custody from Vincenzo Pacetti, becoming the first nucleus of the already mentioned Torlonia Museum. Later, the precious object will lose tracks and the last person to attest its presence in Rome will be Pietro Vitali, at least until its recent “discovery” in the entrance hall of the Accorsi-Ometto Museum. The statue, a Renaissance fake, presents a wrong combination between the head (2nd century AD) and the bust (3rd century AD) cut at the height of the belt (the visible fracture on the neck proves the original distinction between the parts). In Ancient Rome, only the woman of the imperial family were trandsetteres: in fact, we find the same clothing and the same hairstyle – long braids wrapped in a turban on the nape and high scaffolding of false curls on the forehead – in many portraits of court ladies from the time of Trajan (98-117 AD) and that of his successor Adrian (117-138 AD). The bouquet of flowers at the height of the breast and the right hand with a little bouquet are certainly a later addition, responding to a late-Rococò taste.

Biografia dell'artista

Bartolomeo Cavaceppi: A Roman Sculptor Shaped by Antiquity and Winckelmann

Bartolomeo Cavaceppi (c. 1716 – December 9, 1799) stands as a pivotal figure in the artistic landscape of Rome during the Enlightenment, embodying the spirit of neoclassical sculpture while simultaneously grappling with the challenges posed by the burgeoning fascination for classical antiquity. Trained initially under Pierre-Étienne Monnot and subsequently honing his craft within Carlo Antonio Napolioni’s workshop—a collaborative environment dedicated to restoring monumental sculptures commissioned by Cardinal Alessandro Albani—Cavaceppi's career was inextricably linked to the patronage of influential figures and the pursuit of meticulous scholarship. He wasn’t merely replicating the glories of Rome’s past; he actively participated in shaping its artistic future, leaving an indelible mark on both Roman sculpture and the broader dissemination of classical ideals.
  • Early Training & Patronage: Cavaceppi's formative years were spent absorbing the techniques and sensibilities of established sculptors like Monnot and Napolioni, who instilled in him a profound respect for craftsmanship and a dedication to faithfully representing sculptural forms. Crucially, Albani’s unwavering support provided Cavaceppi with invaluable opportunities to engage in ambitious projects—most notably, restoring colossal statues of Roman emperors—and fueled his ambition to elevate Roman sculpture to new heights. This patronage allowed him access to unparalleled resources and fostered connections within the intellectual circles of Rome.
  • Collaboration & Influence: His partnership with Johann Joachim Winckelmann represents perhaps the most significant element of Cavaceppi’s artistic trajectory. Winckelmann's groundbreaking treatise, *Geschichte der Kunst der Griechen und Römer*, profoundly impacted European aesthetics, advocating for a stylistic ideal rooted in purity and timeless beauty—principles that resonated deeply within Cavaceppi’s creative vision. Winckelmann’s insistence on geometric precision and harmonious proportions served as a guiding force, shaping Cavaceppi's approach to sculptural design and influencing his understanding of the sublime.
  • Restoration & Replication: Cavaceppi distinguished himself as one of Rome’s foremost restorers, undertaking monumental commissions for Albani and meticulously reconstructing damaged sculptures from antiquity. He approached these projects with unwavering dedication to accuracy and scholarly rigor, painstakingly documenting each step of the process—a testament to his commitment to preserving Roman heritage. However, his reputation extended beyond mere conservation; he was equally adept at creating convincing copies of Roman masterpieces—a practice that fueled debate about authenticity and contributed to the broader scholarly discourse surrounding classical art. These reproductions were not merely decorative objects but embodiments of Winckelmann’s aesthetic ideals.
  • Notable Achievements: Cavaceppi's legacy rests primarily on his publication *Raccolta d’antiche statue, busti, teste cognate ed altre sculture antiche restaurate da cav.* (1768-1772), a monumental undertaking that showcased his expertise in sculptural reconstruction and cemented his position as a leading voice within the Roman artistic community. This ambitious project not only documented Albani’s collection but also established Cavaceppi as a champion of classical scholarship, demonstrating his profound understanding of Roman art history and contributing significantly to the dissemination of knowledge about antiquity.
  • Historical Significance: Cavaceppi's work embodies the anxieties and aspirations of the Enlightenment era—a period marked by both an eagerness to revive classical ideals and a critical examination of artistic conventions. He stands as a testament to the enduring power of tradition combined with intellectual innovation, shaping the aesthetic sensibilities of his time and securing his place among Rome’s most celebrated sculptors. His meticulous reconstructions served as crucial benchmarks for subsequent generations of restorers and solidified his contribution to the preservation of Roman cultural heritage.
Further Exploration: For deeper insights into Cavaceppi's oeuvre and its context, consider visiting San Bartolomeo by Simone Martini (1317). This magnificent painting exemplifies the elegance of Gothic art and showcases intricate details reflecting the artistic traditions of its time. Explore Beatrice d’Este by Bartolomeo Veneto! Elegance, detail and the influence of Leonardo da Vinci in a timeless masterpiece. Discover L'Apostolo Bartolomeo by Rembrandt! Maestosa chiaroscuro, dettagli intricati e profondità simbolica in questo ritratto iconico del XVII secolo. Explore Torlonia Collection – a remarkable repository of antiquities that continues to inspire artistic research. And delve into Sculptor, Restorer and Antiquarian Bartolomeo Cavaceppi Died in Rome on 9 December 1799 to learn about his life’s journey.
Bartolomeo Cavaceppi

Bartolomeo Cavaceppi

1715 - 1799 , Italia

Informazioni rapide

  • Artistic Movement Or Style: Neoclassico
  • Artists Or Movements Influenced By This Artist: ['Roman Sculpture']
  • Artists Who Influenced This Artist:
    • Pierre-Étienne Monnot
    • Carlo Antonio Napolioni
    • Johann Joachim Winckelmann
  • Date Of Birth: Roma, Italia (c. 1716)
  • Date Of Death: Dicembre 9, 1799
  • Full Name: Bartolomeo Cavaceppi
  • Nationality: Italiano
  • Notable Artworks: ['Flora Torso']
  • Place Of Birth: Roma