Niccolò Roccatagliata (1593-1636) Nude Hercules, Lost-Wax Bronze, Venice c. 1600
* PURCHASED AT CHRISTIE'S, NYC *
This diminutive bronze was given **pride of place** astride massive red porphyry columns in the Chicago penthouse of famed philanthropic collectors, James & Marilyn Alsdorf, underscoring Hercules' commanding presence, even when surrounded by life-sized statuary (cf. Christie's Alsdorf Collection video of 8/18/2020 @ 0:08s - 0:10s).
ORIGINAL OWNER: CHAIRMAN, ART INSTITUTE OF CHICAGO
**1963 AIC MUSEUM LABEL & COLL. NUMBER ATTACHED!!**
Nicolo Roccatagliata (c.1593 - c.1636)
A Venetian Bronze Statue of Hercules
17th century, Circa 1600
Beginning his metalwork apprenticeship in Genoa at the prodigious age of 10, Nicolo Roccatagliata was a pupil of A. Groppo, later working for Tintoretto. Roccatagliata's darkly patinated bronzes of classical & religious subjects adorn the world's finest museums.
Original to the artist's 17th century studio (in contrast to a proliferation of later Grand Tour copies), the present model's late Renaissance date is evinced by the variegated patination, unforced natural modeling, and archaic casting methods (which continued under his son, Sebastiano).
Marked by superior rendering of the abdominal musculature & posterior flesh, a 16th century Renaissance contrapposto in Hercules' stance is counterbalanced by an evident trend towards early 17th century mannerism in the stylized treatment of the hair, beard, and eyes.
While the Vienna version (provenanced by 1924) is argued by some to be the finest from Roccatagliata's workshop, Yale University's (London, 1958) has finer details. Yet, these details betray the Yale model's origins as a sophisticated product of an 18th/19th century copyist, who worked from an entirely new wax model, recast by later methods, and intricately tooled & reimagined the surface into an almost plastic patina. Still, the Vienna statue...
Category
Italian Renaissance Antique 17th Century Jewelry
