Plaster and Plaster Casts in Renaissance Italy

Marchand, Eckart; Frederiksen, Rune

doi:10.1515/9783110216875.47

Cited by 3 publications

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“…The particular penchant of Dutch artists for placing these objects alongside their self-portraits has been largely overlooked. Though their colleagues in Italy had used plaster casts since at least the end of the fifteenth century (Marchand 2010), Dutch painters more consistently chose to represent themselves accompanied by casts. The resulting images are a testament to the fact that Dutch painters frequently owned plaster casts and, through them, forged relationships with one another.…”

Section: Ge-conservación Conservação | Conservationmentioning

confidence: 99%

The Plaster Cast and the Intimacy of the Studio

Lores-Chavez

2023

GEC

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In the seventeenth century, plaster casts, which were essential sources of inspiration and instruction, became a recurring motif in images of Dutch painters’ workspaces, a marker of both intellectual and manual labor. Painters used plaster casts to proclaim their erudite knowledge of antiquity and of Renaissance sculpture that emulated ancient models. Plaster casts also provided a means for ambitious painters to communicate their personal and aspirational ties to other masters. The presence of plaster casts in archival records along with painted depictions of the studio provide insights into the impact of these objects on Dutch artists’ practice and the distinguished lineages they claimed.

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Section: Ge-conservación Conservação | Conservationmentioning

confidence: 99%

The Plaster Cast and the Intimacy of the Studio

Lores-Chavez

2023

GEC

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“…Moulds were used by early modern sculptors working in bronze, plaster, clay and wax; materials 'thought to retain the potency of the earth, the first divine creation'. 30 Allusions to moulds also form part of a conventional early modern discourse in which God is figured as an artisan, as when Calvin states that to be renewed by God as a spiritual body at the general resurrection is to be 'cast in a newe mould'. 31 This figuring of divine creation also intersects with the early modern view that artifice is a product of nature, as in Shakespeare's The Winter's Tale (1611), where, defending horticultural grafting, the Bohemian king Polixenes states that 'art itself is nature'.…”

Section: It Was Decreed In My Deep Providencementioning

confidence: 99%

Prosthesis and the performance of beginnings in The Woman in the Moon

Porter

2016

Textual Practice

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Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century

Fadda

2019

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In Reggio Emilia, the sculptor Prospero Spani, also known as Clemente (1516-1584), created two statues representing Adam and on the facade of the cathedral. Along with Saint Daria and Saint Crisanto, they were both commissioned in 1552. The two statues indisputably draw inspiration from Dawn and Dusk, which are part of the monument dedicated to Lorenzo de’ Medici in the New Sacristy of San Lorenzo in Florence, work of Michelangelo Buonarroti. In January 1892, Eva’s leg by Prospero Clemente broke and fell to the ground. During the restoration, it was noticed that the leg and all other statues were empty inside. There is no formal documentary evidence of Clemente travelling to Florence, where Buonarroti's New Sacristy was opened to the public in 1556 and where, only later on, by the will of Cosimo I, were carried out some engravings representing the whole composition. Despite the existence of other drawings, casts were mainly responsible for spreading Michelangelo’s inventions for the Medici tombs. In the sixteenth century, it was only possible to talk of a culture of casts after 1540 King Francis I Valois’ initiative to ask Francesco Primaticcio – who was already occupied working for him at the decoration of Fontainebleau – to procure the moulds of Rome’s best ancient statues in order to reproduce them. Among the commissioned casts there were also those from Michelangelo, an artist who was extremely admired by the French. As known, masterpieces realised for the King of France had an immediate impact in Italy, which was primarily possible thanks to Primaticcio’s numerous trips in Emilia, where the painter had his own home and used to recruit his collaborators.

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Plaster and Plaster Casts in Renaissance Italy

Cited by 3 publications

References 0 publications

The Plaster Cast and the Intimacy of the Studio

The Plaster Cast and the Intimacy of the Studio

Prosthesis and the performance of beginnings in The Woman in the Moon

Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century

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