Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER SIX
 

THE BAROQUE IN ITALY AND SPAIN
 

PAINTING
ARCHITECTURE AND SCULPTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10,
11, 12, 13,14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26

 
 


ARCHITECTURE AND SCULPTURE


Giuliano Finelli

(b Carrara, 13 Dec 1601 or 12 Dec 1602; d Rome, 16 Aug 1653).

Italian sculptor. He received his earliest artistic training and his gift for handling marble from his uncle, a stonecutter in the quarries at Carrara. In 1611 he accompanied his uncle to Naples, and there he entered the workshop of Michelangelo Naccherino, one of the most prominent Neapolitan sculptors. In 1622 he moved to Rome and almost immediately came to the attention of Gianlorenzo Bernini, who made him one of his principal studio assistants. In that capacity Finelli participated in a number of Bernini’s most important projects of the 1620s. The young sculptor’s virtuosity in carving marble and his facility in using the drill to achieve pictorial effects are nowhere more evident than in his contributions to Bernini’s group Apollo and Daphne (1622–4; Rome, Gal. Borghese). The delicately carved twigs and roots that spring from Daphne’s hands and feet are the work of Finelli. By 1629 his association with Bernini had come to an end, and he established himself as an independent artist with his marble statue of St Cecilia (1629–30) for the choir of S Maria di Loreto, Rome. While generically akin to Bernini’s St Bibiana (1624–6; Rome, S Bibiana), Finelli’s statue departs from Bernini’s dynamic conception and is reserved and more classicizing in style, closer to Alessandro Algardi’s stucco Saints in S Silvestro al Quirinale and to Pietro da Cortona’s painted Saints in S Bibiana.






Giuliano Finelli. Maria Duglioli Barberini




Giuliano Finelli. Bust of Maria Cerri Capranica




Giuliano Finelli. Kardinal Montalto

 


Giuliano Finelli. Bust of Michelangelo Buonarroti the Younger
1630
Marble, life-size
Casa Buonarroti, Florence


Giuliano Finelli. Bust of Cardinal Giulio Antonio Santorio
1633-34
Marble, life-size
San Giovanni Laterano, Rome


Giuliano Finelli. Bust of Scipione Borghese
1632
Marble, height 98,5 cm (with socle)
Metropolitan Museum of Art, New York


Giuliano Finelli. St Peter
1639-40
Marble, life-size
Chapel of Treasury, San Gennaro, Naples




Giuliano Finelli. Francesco Bracciolini

 
 

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