At the end of the sixteenth century Giambologna dominated the art of the small bronze, and his statuettes were highly prized by rulers and sophisticated collectors across Europe. In principle, the master’s models could be endlessly reproduced in bronze casts. Research undertaken for the upcoming exhibition Renaissance and Baroque Bronzes from the Hill Collection will show how and why replication became a major characteristic of the art of the small bronze and investigate whether multiplicity was considered a virtue.―This lecture is made possible by the Robert H.
"Antico: A Pioneer of Renaissance Sculpture," by Claudia Kryza-Gersch, Kunsthistorisches Museum, Vienna, May 2, 2012. Antico dedicated himself to reviving the forms and splendors of ancient sculpture. This lecture will explore the artist's pioneering role in establishing the bronze statuette as a new Renaissance genre; his innovative exploration of the classical bust and the female nude; and his invention of techniques for creating superbly finished versions of his bronzes that rival the technical achievements of the ancients.