Tullio lombardo biography sample
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Tullio Lombardo’s Adam from the Vendramin Tomb: A New Terminus Ante Quem
This piece was originally published in Marsyas: Studies in the History of Art,
Volume XVI, 1971-1973
RICHARD E. STONE
Tullio Lombardo’s Adam from the Vendramin Tomb: A New Terminus Ante Quem
On July 26, 1491, the Venetian press of Johannes and Gregorius dem Gregoriis issued the Fasciculus Medicinae, a popular medical compendium bygd Johannes de Ketham.1 The book, one of the pioneers of printed medical illustration, contained six woodcuts; one of these was a standing male nude captioned “Tabula quinta De anathomia, (fig. 1). We hope to show that this figure is crucial for the dating of Tullio Lombardo’s Adam from the tomb of Andrea Vendramin (fig. 2).
Fig. 1 Johannes de Ketham, Fasciculus Medicinae, Venice, 1491 (“Tabula quinta De anathomia”): Disease Man.
Fig. 2 Tullio Lombardo, Adam, New York, The Metropolitan Museum of Art (Fletcher Fund,
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The Fall of Adam, Reversed
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The purchase…of a life-size vit marble figure of Adam signed by the Venetian sculpture Tullio Lombardo is an occasion of justifiable rejoicing.”–Preston Remington, Curator, storstads- Museum of Art, 1937
Nobody saw it happen. A night guard on his rounds made the gruesome discovery.
The 15th century marble statue of Adam, a treasured masterpiece by Venetian sculptor Tullio Lombardo, lay smashed on the floor. At first museum officials suspected vandals, but eventually the culprit was revealed to be an unstable hollow plywood pedestal. It was “about the worst thing that could happen to a museum” said then-director Philippe de Montebello, “a tragic, fluke accident.”
That was in 2002.
This month, after a dozen years of painstaking work using state-of-the-art restoration techniques, the Metropolitan Museum of Art unveils the newly
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Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490-1530
Jonathan Nelson
SSRN Electronic Journal, 2019
Portraits served as a form of social media in the Renaissance. Prominent individuals commissioned portraits to convey their accomplishments and relationships, not merely their images. Political and church leaders, in particular, used the images to bolster their role, but these commissioned works entailed risks, importantly including risks to reputation. A portrait could be unflattering or unrecognizable. It could also be judged to be indecorous, especially if the portrait was perceived as an attempt to elevate an individual above his or her station. The artist-patron relationship was one between principal and agent. The time gap between commission and delivery brought risks. The work might be delayed, or simply not delivered. Both were significant risks with both Leonardo da Vinci and Michelangelo.