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252:(1628–47), with a central hieratic sculpture of the pope seated in full regalia and offering a hand of blessing, while at his feet, two allegorical 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
392:. The casino was a showcase for the Pamphili collection of sculpture, ancient and contemporary, on which Algardi was well able to advise. In the villa grounds, Algardi and his studio executed sculpture-encrusted fountains and other garden features, where some of his free-standing sculpture and bas-reliefs remain.
446:, and it reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, but for most patrons, sculpted marble altarpieces were far too costly. In this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened
524:
than to the emotive works of other baroque artists. From an artistic point of view, he was most successful in portrait-statues and groups of children, where he was obliged to follow nature most closely. His terracotta models, some of them finished works of art, were prized by collectors. An
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standpoint, the incident is common theme: a moment of divine intervention in the affairs of man. Algardi's patron's message through the relief would be that all viewers should be sternly reminded of the papal capacity to invoke divine retribution against enemies.
175:
led him to work for Giulio Cesare
Conventi (1577–1640), an artist of modest talents. His two earliest known works date back to this period: two statues of saints, made of chalk, in the Oratory of Santa Maria della Vita in Bologna. By the age of twenty,
453:
The subject was apt for a papal state seeking to increase its power, since it depicts the historical legend wherein Saint Leo the Great, the first pope to receive the epithet, with supernatural aid, deterred the Huns from looting Rome. From a
450:, surge forward from the center into three dimensions. Only they two see the descending angelic warriors rallying to the pope's defense, while all others in the background reliefs, persist in performing their respective earthly duties.
339:). Like Bernini's characteristic works, they often express the Baroque aesthetic of depicting dramatic attitudes and emotional expressions, yet Algardi's sculpture has a restraining sobriety in contrast to those of his rival.
217:. His early Roman commissions included terracotta and some marble portrait busts, while he supported himself with small works like crucifixes. In the 1630s he worked on the tombs of the Mellini family in the
208:
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
373:. Algardi's portraits were highly prized, and their formal severity contrasts with Bernini's more vivacious expression. A large hieratic bronze of Innocent X by Algardi is now to be found in the
482:, 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
248:
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
369:, the Barberini family and fell into disrepute, resulting in fewer commissions for Bernini. Algardi, on the other hand, was embraced by the new pope and the pope's nephew,
909:
300:, but rendered more elegant. The tomb is somberly monotone and lacks the polychromatic excitement that detracts from the elegiac mood of Urban VIII's tomb.
483:
462:
In his later years
Algardi controlled a large studio and amassed a great fortune. Algardi's classicizing manner was carried on by pupils, including
380:
Algardi was not renowned for his architectural abilities. Although he was in charge of the project for the papal villa, the Villa
Pamphili, now
703:
586:
699:
A landscape pen-and-ink drawing by
Giovanni Francesco Grimaldi, c 1650, to which Algardi has added figures of the Holy Family (Getty Museum)
240:
Algardi's first major commission came about in 1634, when
Cardinal Ubaldini (Medici) contracted for a funeral monument for his great-uncle,
384:, outside the Porta San Pancrazio in Rome, he may have had professional guidance on the design of the casino from the architect/engineer
332:
914:
180:, began commissioning works from him, and he was also employed by local jewelers for figurative designs. After a short residence in
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Algardi's large, dramatic, high-relief marble panel of Pope Leo and Attila, created from 1646 to 1653, is commonly referred to as
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741:. Sculpture restoration was a common employment for even the most prominent sculptors of his day, including Bernini and
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Algardi was also known for his portraiture which shows an obsessive attention to details of psychologically revealing
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with two figures: a kneeling, resigned saint and the executioner poised to strike the sword-blow, for the church of
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Algardi died in Rome within a year of completing his famous relief, which was admired by contemporaries.
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actively writes the epitaph. Algardi's tomb is much less dynamic. The allegorical figures of
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One or more of the preceding sentences incorporates text from a publication now in the
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initially trained with him. The latter two completed his design for an altarpiece of the
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695:, March 20, 1999: Review of exhibition "Algardi: The Other Face of the Baroque,", 1999
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In temperament, his style was more akin to the classicized and restrained baroque of
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contains the tomb of the Count and
Countess de Monterey, another work by Algardi.
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have an impassive, ethereal dignity. Some have identified the helmeted figure of
185:
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His marble bust of
Laudivio Zacchia, 1627, is in the Staatliche Museen, Berlin
517:, Camillo Pamphilj, and of Muzio Frangipane and his two sons Lello and Roberto.
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Algardi's official 1645 portrait statue of
Innocent X is preserved in the
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918:. Vol. 1 (11th ed.). Cambridge University Press. p. 598.
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952:
Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova
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192:, who employed him for a time in the restoration of ancient statues.
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403:. As a consequence there are four chimney-pieces by Algardi in the
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323:. These works established his reputation, alongside two reliefs of
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Busts of members of the Frangipane family in S. Marcello al Corso
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Harriet F. Senie, "The Tomb of Leo XI by Alessandro Algardi",
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and help with supervising its construction from his assistant
689:
Roderick Conway-Morris, "Casting light on a Baroque sculptor"
400:
167:, where at a young age, he was apprenticed in the studio of
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85:
143:. In the latter decades of his life, he was, along with
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His portrait bust of Camillo Pamphili, 1647, is at The
407:, and in the gardens, the figures on the fountain of
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Papal favour under Innocent X and Spanish commissions
709:
Roberto Piperno, "Three busts by Alessandro Algardi"
135:(July 31, 1598 – June 10, 1654) was an Italian high-
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Le vite de' pittori, scultori et architetti moderni
733:These restored statues still form the core of the
525:outstanding series of terracotta models is at the
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1030:
633:
307:commissioned from Algardi a colossal statue of
411:are also by him. The Augustinian monastery at
655:
399:, who obtained commissions for his work from
851:. USA: Oxford University Press. p. 12.
849:Oxford Illustrated Encyclopedia Of The Arts
665:Alessandro Algardi in the "History of Art"
109:
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76:
60:
47:
29:
264:or lost in contemplation, while skeletal
128:of Cardinal Paolo Emilio Zacchia, c. 1650
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227:
119:
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418:
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139:sculptor active almost exclusively in
880:
814:For example, Gian Lorenzo's father,
660:. Thames & Hudson, World of Art.
333:a contemporary replica of the latter
45:31 July 1595, 27 November 1598
13:
14:
1075:
993:"The Meeting of Leo I and Attila"
872:Bellori, Giovanni Pietro (1672).
362:in 1644 and the accession of the
329:The Rest on the Flight into Egypt
954:(Yale University Press) 2001:47.
892:
613:
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585:
571:
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358:With the death of the Barberini
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1008:, Bruce Boucher, pages 152-153.
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982:, Vol. 1, Yale, 1985, pp. 94–6,
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1059:17th-century Italian sculptors
966:Bernini: His Life and His Rome
957:
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840:
800:Compare the prior images with
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501:Critical assessment and legacy
158:
1:
1019:"Busts of Algardi's children"
847:Norwich, John Julius (1990).
833:
735:Bonacorsi-Ludovisi collection
715:Works by Algardi in Europeana
480:San Nicola da Tolentino, Rome
151:, one of the major rivals of
964:Mormando, Francesco (2011).
693:International Herald Tribune
178:Ferdinando I, Duke of Mantua
171:. However, his aptitude for
16:Italian sculptor (1598–1654)
7:
390:Giovanni Francesco Grimaldi
10:
1080:
704:Images of nearly all works
627:
536:
337:Victoria and Albert Museum
213:and his fellow Bolognese,
1049:Italian Baroque sculptors
1006:Italian Baroque Sculpture
658:Italian Baroque Sculpture
641:. Yale University Press.
509:in a sober but immediate
313:Santa Maria in Vallicella
311:with kneeling angels for
260:are either distracted by
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70:
41:
37:
28:
21:
820:Assumption of the Virgin
768:Palazzo dei Conservatori
720:
677:Artnet Resource Library:
476:Vision of Saint Nicholas
405:Royal Palace of Aranjuez
325:The Martyrdom of St Paul
915:Encyclopædia Britannica
430:, St. Peter's Basilica.
1064:Italian male sculptors
656:Bruce Boucher (1998).
431:
355:
237:
223:Santa Maria del Popolo
129:
442:. It was created for
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354:, Capitoline Museums.
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284:and iconic images of
231:
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1054:Artists from Bologna
824:Santa Maria Maggiore
803:Bernini's Urban VIII
419:Fuga d'Attila relief
395:In 1650 Algardi met
382:Villa Doria Pamphili
163:Algardi was born in
153:Gian Lorenzo Bernini
978:Montagu, Jennifer.
910:Algardi, Alessandro
787:, Saint Petersburg
685:Algardi, sculptures
683:Web Gallery of Art:
565:Maurizio Frangipane
444:St Peter's Basilica
244:, the third of the
196:Tomb of Pope Leo XI
145:Francesco Borromini
980:Alessandro Algardi
932:(1978); pp. 90–95.
679:Alessandro Algardi
670:2007-09-27 at the
639:Alessandro Algardi
432:
375:Capitoline Museums
356:
321:San Paolo, Bologna
305:Pietro Boncompagni
238:
133:Alessandro Algardi
130:
74:10 June 1654
23:Alessandro Algardi
941:Boucher pp. 121–2
876:. Rome: Marcardi.
484:Francesco Barrata
386:Girolamo Rainaldi
211:Pietro da Cortona
200:Propelled by the
190:Ludovico Ludovisi
188:nephew, Cardinal
169:Agostino Carracci
149:Pietro da Cortona
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527:Hermitage Museum
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488:Girolamo Lucenti
440:Flight of Attila
371:Camillo Pamphilj
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968:. p. 149.
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858:978-0198691372
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818:'s crowded
772:Campidoglio
551:A Gentleman
507:physiognomy
309:Philip Neri
294:Duquesnoy's
278:Magnanimity
270:Magnanimity
242:Pope Leo XI
215:Domenichino
186:late pope's
159:Early years
124:Terracotta
1033:Categories
834:References
511:naturalism
317:Saint Paul
292:resembles
290:Liberality
274:Liberality
250:Urban VIII
101:Occupation
522:Duquesnoy
413:Salamanca
206:Barberini
173:sculpture
82:(aged 58)
668:Archived
637:(1985).
364:Pamphilj
202:Borghese
105:Sculptor
903::
770:on the
628:Sources
537:Gallery
456:baroque
409:Neptune
296:famous
258:Justice
254:Charity
165:Bologna
137:Baroque
126:modello
56:Bologna
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490:, and
470:, and
448:Attila
286:Wisdom
282:Athena
246:Medici
182:Venice
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721:Notes
401:Spain
266:Death
262:putti
853:ISBN
822:for
643:ISBN
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327:and
272:and
256:and
204:and
147:and
141:Rome
86:Rome
71:Died
42:Born
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