Follower of Andrea Sansovino (1460-1529) - Saint Jean the Baptist

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Follower of Andrea Sansovino (1460-1529) - Saint Jean the Baptist

About the Item

Follower of Andrea Sansovino (1460-1529) Saint Jean the Baptist White marble Tuscany, 16th century 24 x 23 x 10 cm (Nose restored) Saint John the Baptist was the last of the Old Testament prophets and the first saint of the New Testament. A forerunner of Christ, he prefigured the coming of the Messiah. In a remote part of the desert of Galilee, wearing only a garment made of camel hair, he preached the coming of the Sauveur. This garment, which became a symbol of Saint John, is depicted here as an animal skin. Cut off just below the shoulders, with sharply turned head the Saint is depicted vigorous, muscular, wearing only a melotte. This beautiful emaciated face with a narrow straight nose and lively curly hairs embodies the ideal of male youths found in Florentine renaissance art. The long, richly modeled and differentiated hair is at once elegant in its swirling waves and unruly in its loose wisps. Through the emaciated face, long beard, and unruly hair, the artists aimed to illustrate the effects of a life in the desert. The slightly open mouth and eyes suggest a form of ecstasy resulting from both physical suffering and the encounter with God. The delicate sculpting of the face, the fine rendering of the fur and locks of hair are quite remarkable. The veins and muscles in the neck are delineated, the tunic’s fur is textured and the face is carefully modeled. The sculptor skillfully combines lessons from antiquity with the mature art of the early Renaissance. Attention to musculature, detailing in the shoulder and neck areas, and emphasis on pectoral muscles invite the viewer to understand, and even feel, the strength of John. The artist endeavors to revive his own vision of modern classicism through a forceful, synthetic, and robust execution. The pronounced physiognomic features, wrinkles, and curls draw parallels to the early works of Andrea Sansovino, predating 1515. Notably, close comparisons can be drawn, particularly with the two versions of the Baptism of Christ—one located at the baptistry in Volterra and the other housed in the Museo dell’Opera del Duomo in Florence. The sculpture's reduced dimensions suggest a private destination, likely intended for a chapel or a house. Saint John the Baptist has long been revered in Florence as the city's patron saint, depicted in numerous artworks. Sculptures of the Baptist and Christ were common features in Florentine homes, offering models of virtue to beholders. While the precise authorship of this marble sculpture offers several possibilities, this Saint John the Baptist must be placed within the artistic circle of Andrea Sansovino. The figure of Christ of the Baptism formerly atop the east doorway of the Baptistery exhibit similar classicizing proportions and grace. The bearded visage, the deeply carved features, and the meticulously sculpted musculature of the arms and torso reflect Sansovino's commitment to achieving a perfect balance between idealized forms and a keen observation of the human body. Sansovino started to carve these figure in 1502 but was summoned to Rome in 1505 while still working on the project. The group remained incomplete and was not In place upon the building until 1569 by which time Vincenzo Danti, had finish it by adding at the left an angel holding Christ’s drapery to balance the figure of the Baptist. (danti’s attendant was replaced in the XVIII century by Innocenzo Spinazzi’s present marble figure). Bibliographie: A. Bonito, “The Saint Anne Altar in Sant’Agostino, a New Discovery”, The Burlington Magazine, cxxii, 1980, pp. 805–11 Bonito, “The Saint Anne Altar in Sant’Agostino: Restoration and Interpretation”, The Burlington Magazine, cxxiv, 1982, pp. 268–75 G . Fattorini, Andrea Sansovino, Loreto e la grande scultura italiana del Cinquecento, Temi, Trento 2013 Girolami, “In margine ad una monografia su Andrea Sansovino”, Atti & Mem. Accad. Petrarca Lett., A. & Sci., xxx–xxxi, 1941 H. Huntley, Andrea Sansovino, Cambridge, 1935 Keutner, “Andrea Sansovino e Vincenzo Danti: Il gruppo del Battesimo di Cristo sopra la Porta del Paradiso”, Scritti di storia dell’arte in onore di Ugo Procacci, Milan, 1977, pp. 370–80 Marilyn Aronberg Lavin, “Giovanni Battista: a Study in Renaissance Religious Symbolism,” Art Bulletin 37 (1955): 85–101; Marilyn Aronberg Lavin, “Giovanni Battista: A Supplement,” Art Bulletin 43 (1961): 320–21. Lisner, “Andrea Sansovino und die Sakramentskapelle der Corbinelli mit Notizen zum alten Chor von Santo Spirito in Florenz”, Z. Kstgesch., lx, 2, 1987, pp. 207–74 Middeldorf, Raccolta di scritti, I, Florence, 1979, pp. 107–16, pp. 121–8, pp. 147–53, pp. 155–65 Pope-Hennessy, Italian High Renaissance and Baroque Sculpture, Oxford, 1963 Pope-Hennessy, The Frick Collection: An Illustrated Catalogue, Princeton, 1970, vol. III, p. 60-6

Dimensions:
Height: 9.45 in (24 cm)Width: 9.06 in (23 cm)Depth: 3.94 in (10 cm)
Style:
Renaissance (Of the Period)
Materials and Techniques:
Marble,Carved
Place of Origin:
Italy
Period:
16th Century
Date of Manufacture:
16Th century
Condition:
Additions or alterations made to the original: nose restored. Wear consistent with age and use.
Seller Location:
Bruxelles, BE
Reference Number:
1stDibs: LU6666238332012