Francesca Tasso – författare

This exhibition, being held at the musée du Louvre in Paris, and its catalogue follow those dedicated to Florentine sculpture in the early Renaissance, 1400-1460, that took place in 2013-14 (Le Printemps de la Renaissance). The period scrutinised is 1460-1520 but the geographical coordinates are widened to include Northern Italy (Venice, Milan, Pavia, Padua, Bologna) and Rome as the artistic landscape of Italy becomes more complex. Some of the great sculptors, in fact, travelled and their style and their ideas influenced pre-existing local tradition.These new artistic languages share a common characteristic: the relationship to Greco-Roman Antiquity, especially in the representation of grace and passion: the expression of pathos and the theatrical quality of religious works, the symbolic richness of profane works and finally the development of a new and refined style which will find its highest expression in Roman classicism and in the work of Michelangelo.The catalogue includes the works of, among others, Donatello, Antonio Pollaiolo, Bertoldo di Giovanni, Giovanfrancesco Rustici, Francesco di Giorgio Martini, Guido Mazzoni, Bartolomeo Bellano, Cristoforo Solari, Tullio Lombardo, Andrea Riccio, and Bambaia, Sansovino, and Michelangelo.Text in Italian.

This volume collects the papers presented at the international study conference Sculpting in the Renaissance: an art to (com)move / Sculpter à la Renaissance. Un art pour (é)mouvoir organised by the Musée du Louvre in Paris and the Castello Sforzesco in Milan to accompany the exhibition Le corps et l'âme. De Donatello à Michel-Ange. Scultures italiennes de la Renaissance (Officina Libraria, 2020), held between 2020 and 2021. With the involvement of some of the most important specialists in Renaissance sculpture, the aim was to investigate the interactions, influences and exchanges between the plastic arts and other Renaissance art forms capable of revealing feelings through expressions of the body, through the works of Agostino di Duccio, Donatello, Michelangelo and other local sculptors. The aim is also to place within their social, devotional and intellectual context the different manifestations of feeling of which sculpture is one of the privileged media. Sacred art themes in particular were addressed, in an attempt to explain their formal evolution in relation to the socio-cultural transformations of the time, but also to local traditions and their dramatisation.Text in English, French and Italian.