Cinquecento Sculpture

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Sculpture (Cinquecento): a) General features: Cinquecento sculpture sought grandeur ls found inspiration in classic works, as direct contemplation of the artistic capital d Rome, helped the new style dl configuration. Dl dl Descubrimeinto Hellenistic Laocoon group in 1506, many parts d capital Greek and Roman sculpture, esttimadas by ls ls nobles and high priests, the Vatican collections allocated. The study focused on the naked human form d cn greater rigor. In Quattocento, cn an idealized vision highlighting the heroic and the giant, did not suit the religious themes. Andrea Sansovino, performed acts d subject religious and burial. James Tatti, called Sansovino carved in marble and bronze works. Michelangelo Buonarroti sentiment prevailed d sculpture. Michelangelo production Quattrocento summarized all the progress and anticipated aspects d Mannerist and Baroque sculpture. D perfect knowledge of anatomy, allows us to represent details tods ls dl human body, muscles and veins, his works contain a potential motion becomes q act to reach the Baroque era. In his first escuelturas influence d d Donatello Della Quercia (grandiosity and anatomy), as in the Virgin's Ladder and d d centaurs and Lapita Batlle. In his first arrival in Rome, sculpted the Pieta Vatican d, d exquisite perfection, the theme is the beauty ideal and less pathos q in the Gothic period, the spiritual pain is evident. In Florence, David d sculpts Academy increased the grandeur and the detailed anatomical study.

In Rome, the tomb held dl Pope Julius II (exempt under the dome d San Pedro was reduced to a burial dl wall attached to the church transept d d San Pietro in Vincoli, q are figures in his Rachel, Leah and Moses, whose face expression d is the Michelangelo terribilitá. The study human naked dl tension was evident in statues d Slaves spread Louvre Museum d dl d Florence Academy. In 1520 and 1534 made the grave d the Medici in San Lorenzo in Florence ; available niches carved into the wall to accommodate the seated statues d d Lorenzo and Giuliano de 'Medici, whose feet are lying ls dusk and allegorical figures dl dl Dawn and Day and Night. These figures provide mannerist features. The last stage made sculptural works with religious themes, which also revealed the spiritual crisis, the Pieta Rondanini, outlines the non finito. Others are sculptors Benvenuto Cellini, author dl Perseus and Giambologna or John d Bologna, author Mercury dl od d equestrian statues such as Philip III in Plaza Mayor Madrid d.

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