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Agostino De Fondulis

(1450 -  1522 )
DE FONDULIS  AGOSTINO Man Of Sorrows
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Along with Agostino De Fondulis, our clients also searched for the following authors:
Lodovico Buonarroti Simoni Michelangelo, Andrea Ferrucci, Andrea Di Alessandri, Andrea Briosco Riccio, Severo Da Ravenna
Artworks in Arcadja
1

Some works of Agostino De Fondulis

Extracted between 1 works in the catalog of Arcadja
Agostino De Fondulis - Man Of Sorrows

Agostino De Fondulis - Man Of Sorrows

Attributed
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Gross Price
Lot number: 420
Other WORKS AT AUCTION
Description:
LOT 420
ATTRIBUTED TO AGOSTINO DE FONDULIS
CIRCA 1450-1522?
MAN OF SORROWS
50,000—80,000 USD
measurements
height 16 1/2 in.; 41.9 cm
Description
Italy, Lombardy
late 15th century
painted terracotta bust
A Report on Thermoluminescence Analysis from Oxford ResearchLaboratory for Archeology and the History of Art indicates thatsample no. 281p88, 1979, was last fired 630 to 390 years ago(1349-1589).
A Report on Thermoluminescence Analysis from Oxford ResearchLaboratory for Archeology and the History of Art indicates thatsample no. 281p88, 1979, was last fired 630 to 390 years ago(1349-1589).
PROVENANCE
Heim Gallery, London
EXHIBITED
Heim Summer 1972, no. 40; Washington, New York, Cambridge1979-1982, no. 1 (illus.); New York 1981, cat. no. 3, Chicago1987-1988, no. 1
LITERATURE AND REFERENCES
Sgarbi 2006, p.100
CATALOGUE NOTE
RELATED LITERATURE Bandera 1997 The dramatic realism portrayed in the present bust of Christ isanalogous to the pathos evident in the work of sculptors such asNiccolò dell'Arca (1435-94) and Guido Mazzoni (active 1473-1518)both of whom worked in Lombardy. This bust was previously given tothe circle of Mazzoni, partly based on strong comparisons with thefacial types in his famous Lamentation group fromSant'Antonio di Castello, Venice (now in the Museo Civico,Padua). Sgarbi (op. cit.), however, discusses another nearly identicalbust of Christ as the Man of Sorrows and suggests that theprofound emotion and quiet majesty of the Sackler and Sgarbi bustsshare similarities with the work of Lombard artists such asAgostino de Fondulis, who trained with his father Giovanni, withfollowers of Donatello. Agostino's naturalistically paintedterracotta Pietà group with 14 figures for the church of S MariaPresso S Satiro was inspired both by Paduan late Gothic naturalismand by the classicism of Andrea Mantegna. The iconography of the present bust was most commonly adopted inFlorence and developed in the workshop of Verrocchio in the latterpart of the 15th century. The profoundly personaldepiction of suffering, underscored by the adept modeling of thehigh cheekbones, arched eyebrows, deep creases around the eyes andneck and beautifully spiralled twists of hair was intended fordomestic veneration.
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