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 SEVEN
 

THE BAROQUE IN FLANDERS AND HOLLAND
 

PAINTING
ARCHITECTURE AND SCULPTURE - Part 1, 2, 3, 4

 
 


ARCHITECTURE AND SCULPTURE


Francois Duquesnoy.
 


Francois Duquesnoy

François Duquesnoy, (baptized Jan. 12, 1597, Brussels [Belgium] —died July 12, 1643, Livorno, Tuscany [Italy]), Flemish-born Roman sculptor whose relatively restrained works reveal the influence of his close friend the painter Nicolas Poussin and helped to counter the influence of the more extravagantly emotional art prevailing in 17th-century Rome.

Duquesnoy was one of a family of sculptors and must have learned something of the art of Peter Paul Rubens while still in the family’s Flemish workshop. He went to Rome in 1618 and during 10 years of obscurity was engaged in the restoration of classical sculpture. At the same time he also produced original small-scale works in bronze, ivory, and wood. In 1627–28 he worked with the dominant sculptor of the century, Gian Lorenzo Bernini, on the baldachin (altar canopy) for St. Peter’s and in 1629 received commissions for his two outstanding monumental figures in marble. “St. Andrew,” one of four colossal statues beneath the dome of St. Peter’s, is in a restrained style still close to that of Bernini; but “St. Susanna,” which was not completed until 1633 for the choir of Santa Maria di Loreto, Rome, shows a characteristic synthesis of the classical ideal and a sensitive study of nature. Much of Duquesnoy’s output was in the form of small relief sculptures. His rendering of putti on the altar (1642) in the Cappella Filomarina in Sant’ Apostoli, Naples, was particularly renowned.

Encyclopædia Britannica

 


Francois Duquesnoy. Bacchus



Francois Duquesnoy. Apollo and Cupid
1635-40
Bronze, light brown lacquer patina, height 66 cm
Liechtenstein Museum, Vienna



Francois Duquesnoy. Mercury
1630s
Bronze, light brown lacquer patina, height 63 cm
Liechtenstein Museum, Vienna


Francois Duquesnoy. Rondanini Faun
Antique statue restored in 1625-30
Marble, height 175 cm (without plinth)
British Museum, London


Francois Duquesnoy. St Andrew
1629-33
Marble, height: 450 cm
Basilica di San Pietro, Vatican


Francois Duquesnoy. St Susanna
1630-33
Marble
Santa Maria di Loreto, Rome


Francois Duquesnoy. Adonis, a Roman torso, Louvre Museum





Francois Duquesnoy. Bacchus
Marble
c1630
Hermitage, St Petersburg, Russian Federation





Francois Duquesnoy. Bust of Jesus as a Youth, 1620/43





Francois Duquesnoy. Bust of Cardinal Guido Bentivoglio
Heim Gallery (exhibited), London, England





Francois Duquesnoy. Mercure et l'Amour





Francois Duquesnoy. Christ Bound





Francois Duquesnoy. Bacchanalia of Putti
1630
Marble
Galleria Spada, Rome




Francois Duquesnoy. Victory of Sacred over Profane Love
1630
Marble
Galleria Spada, Rome

 


Francois Duquesnoy. Relief. Church of SS. Apostoli. Naples, Campania, Italy

 
 

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