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Scope of Francesco Bertos (1678-1741), Female Hunting Figures18th 18th Century
18th 18th Century
$10,779.66
£7,988.32
€9,000
CA$14,716.28
A$16,371.26
CHF 8,582.02
MX$200,052.81
NOK 109,281.32
SEK 102,873.24
DKK 68,525.21
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Scope of Francesco Bertos (1678-1741)
Female hunter figures
(2) Marble, h. 30 cm
The pair of marble sculptures we present here fits within early 18th-century Venetian sculpture, and in particular within the sphere of Francesco Bertos, a sculptor and foundryman born in the environs of Venice, specifically in Dolo, along the Brenta River Riviera. The reconstruction of his biography has been so difficult for critics that they have been unable to confirm with certainty the long-favored hypothesis of his youthful journey to Rome. A more careful examination, which took place thanks to the new studies carried out on the occasion of the recent exhibition, named after him, at the Gallerie d'Italia in Vicenza, has instead considered more plausible travels and experiences in the Veneto region or in the neighboring Romagna, thus outlining a training linked to the land of origin, where the Bonazza workshop operated, founded by his contemporary Giovanni, whose collaborator he was also. The latter was a pupil of the Flemish artist Giusto Le Court, active in Venice and an exponent of the virtuosity of Flemish and German sculptors of the seventeenth century that so inspired Bertos in the meticulous creation of small sculptural groups in bronze and marble. Other sources of inspiration external to Venzia were Tuscan ones, such as the works of the Florentine Giovanni Battista Foggini, a coeval sculptor and architect in the service of the Medici, and the Mannerist-style works of Giambologna, whose compositions-such as the Ratto a due figure (1579)-were the inspiration for Bertos's more original sculptures. In fact, his fame would be established among major European patrons, such as Tsar Peter the Great, King Charles Emmanuel III of Savoy, and Doge Alvise Pisani, thanks to works that were small in size but rendered with meticulousness and through compositions with extreme complexity and a dynamic structure free to expand in space. Bertos's incredible technical skill left his contemporaries so astonished that they considered this mastery almost superhuman, and attracted even the attention of the Inquisition, which accused him of making a pact with the devil. In addition to this much-vaunted technical virtuosity, Bertos's sculptures conceal a cultured, allegorical, mythological and symbolic dimension that allows them to be interpreted as valuable intellectual games, present, moreover, also in this pair of statuettes connected not only by the genre but also by the hunting theme, also treated by the artist in other sculptures such as the Allegory of Hunting at the Royal Palace in Turin. While one can be interpreted as Diana, a Roman goddess of the hunt perhaps depicted here in the act of drying herself after bathing, the other would seem to be a hunter deity closer to the allegorical representation of the American continent, often depicted with bow and arrow and in a vigilant and combative attitude. The dynamic and fluid poses, the accuracy of the workmanship, the small format, and the subtlety with which the theme of hunting is treated allegorically thus appear as clear references to the art of this sculptor and the culture of the period and areas in which he lived and worked.
- Creation Year:18th 18th Century
- Dimensions:Height: 5.91 in (15 cm)Width: 11.82 in (30 cm)
- Medium:
- Circle Of:Francesco Bertos
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216689842
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