Alessandro Algardi: Revizyonlar arasındaki fark

Propelled by the Borghese and Barberini patronage, [[Gian Lorenzo Bernini]] and his studio garnered most of the major Roman sculptural commissions. For nearly a decade, Algardi struggled for recognition. In Rome he was aided by friends that included [[Pietro da Cortona]] and his fellow Bolognese, [[Domenichino]]. His early Roman commissions included terracotta and some marble portrait busts,<ref>His marble bust of Laudivio Zacchia, 1627, is in the Staatliche Museen, Berlin [http://www.scultura-italiana.com/Galleria/Algardi%20Alessandro/imagepages/image17.html (illustrated)]</ref> while he supported himself with small works like crucifixes.

 

 

Algardi's first major commission came about in 1634, when Cardinal Ubaldini (Medici) contracted for a funeral monument for his great-uncle, [[Pope Leo XI]], the thirdof the Medici popes, who had reigned for less than a month in 1605. The monument was started in 1640, and mostly completed by 1644. The arrangement mirrors the one designed by Bernini for the Tomb of [[Urban VIII]] (1627-8), with a central hieratic sculpture of the pope seated in full regalia and offering a hand of blessing, while at his feet, two allegrical female figures flank his sarcophagus. However, in Bernini's tomb, the vigorous upraised arm and posture of the pope is counterbalanced by an active drama below, wherein the figures of ''Charity'' and ''Justice'' are either distracted by putti or lost in contemplation, while skeletal Death actively writes the epitaph. Algardi's tomb is much less dynamic. The allegorical figures of ''Magnanimity'' and ''Liberality'' have an impassive, ethereal dignity. Some have identified the helmeted figure of ''Magnanimity'' with that of Athena and iconic images of Wisdom<ref>Harriet F. Senie, "The Tomb of Leo XI by Alessandro Algardi", ''The Art Bulletin'' (1978); p 90-95.</ref>. ''Liberality'' resembles [[Francois Duquesnoy|Duquesnoy's]] famous ''Santa Susanna'', but more elegant. The tomb is somberly monotone and lacks the polychromatic excitement that detracts from the elegiac mood of Urban VIII's tomb<ref>Boucher p 121-2</ref>.

== The ''Fuga d'Attila'' relief ==

Algardi's large dramatic marble high-relief panel of Pope Leo and Attila <ref>[http://www.wga.hu/frames-e.html?/html/a/algardi/2/meeting.html|''Pope Leo and Atilla'' relief]</ref>(1646–53) for [[St Peter's Basilica]] was widely admired in his day, and reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches <ref>For example, Gian Lorenzo's father, [[Pietro Bernini]]'s crowded ''Assumption of the Virgin'' for [[Santa Maria Maggiore]](1606)</ref>, but for most patrons, sculpted marble altarpieces were far to costly. In this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila, surge and protrude from the center into three dimensions. Only they two see the descending angelic warriors rallying to the pope's defense, while all others persist in the background reliefs, performing respective earthly duties. The subject was apt for a papal state seeking clout, since it depicts the historical legend when the greatest of Leonine Popes, with supernatural aide, deterred Huns from looting Rome. From a baroque standpoint it is a moment of divine intervention in the affairs of man. No doubt part of his patron's message would be that all viewers would be sternly reminded of the papal capacity to invoke divine retribution against enemies.

Algardi died in Rome within a year of completing his famous relief, which was admired by contemporaries. In his later years Algardi controlled a large studio and amassed a great fortune. Algardi's classicizing manner was carried on by pupils (including [[Ercole Ferrata]] and [[Domenico Guidi]]). [[Antonio Raggi]] initially trained with him. The latter two completed his design for an altarpiece titled the ''Vision of Saint Nicholas'' ([[San Nicola de Tolentino, Rome]]) using two separate marble pieces linked together in one event and place, yet successfully separating the divine and earthly spheres. Other lesser known assistants from his studio include [[Francesco Barrata]], [[Girolamo Lucenti]], and [[Giuseppe Perroni]].