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263:(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
403:. 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.
457:, 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
535:
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.
186:
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,
464:
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
461:, 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.
350:). 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.
228:. 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
219:
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
384:. 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
493:, 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
259:
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
380:, 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,
920:
311:, 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.
494:
473:
In his later years
Algardi controlled a large studio and amassed a great fortune. Algardi's classicizing manner was carried on by pupils, including
391:
Algardi was not renowned for his architectural abilities. Although he was in charge of the project for the papal villa, the Villa
Pamphili, now
714:
597:
710:
A landscape pen-and-ink drawing by
Giovanni Francesco Grimaldi, c 1650, to which Algardi has added figures of the Holy Family (Getty Museum)
251:
Algardi's first major commission came about in 1634, when
Cardinal Ubaldini (Medici) contracted for a funeral monument for his great-uncle,
395:, outside the Porta San Pancrazio in Rome, he may have had professional guidance on the design of the casino from the architect/engineer
343:
925:
191:, 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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229:
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752:. 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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706:, 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
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His marble bust of
Laudivio Zacchia, 1627, is in the Staatliche Museen, Berlin
528:, 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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524:, and minute attention to costume and draperies, such as in the busts of
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929:. Vol. 1 (11th ed.). Cambridge University Press. p. 598.
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Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova
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203:, who employed him for a time in the restoration of ancient statues.
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414:. As a consequence there are four chimney-pieces by Algardi in the
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334:. 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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66:
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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
700:
Roderick Conway-Morris, "Casting light on a Baroque sculptor"
411:
178:, where at a young age, he was apprenticed in the studio of
151:
96:
154:. In the latter decades of his life, he was, along with
794:
His portrait bust of Camillo Pamphili, 1647, is at The
418:, and in the gardens, the figures on the fountain of
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Papal favour under Innocent X and Spanish commissions
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Roberto Piperno, "Three busts by Alessandro Algardi"
146:(July 31, 1598 – June 10, 1654) was an Italian high-
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Le vite de' pittori, scultori et architetti moderni
744:These restored statues still form the core of the
536:outstanding series of terracotta models is at the
511:
1041:
644:
318:commissioned from Algardi a colossal statue of
422:are also by him. The Augustinian monastery at
666:
410:, who obtained commissions for his work from
862:. USA: Oxford University Press. p. 12.
860:Oxford Illustrated Encyclopedia Of The Arts
676:Alessandro Algardi in the "History of Art"
120:
101:
87:
71:
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275:or lost in contemplation, while skeletal
139:of Cardinal Paolo Emilio Zacchia, c. 1650
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130:
882:
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14:
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150:sculptor active almost exclusively in
891:
825:For example, Gian Lorenzo's father,
671:. Thames & Hudson, World of Art.
344:a contemporary replica of the latter
56:31 July 1595, 27 November 1598
24:
25:
1086:
1004:"The Meeting of Leo I and Attila"
883:Bellori, Giovanni Pietro (1672).
373:in 1644 and the accession of the
340:The Rest on the Flight into Egypt
965:(Yale University Press) 2001:47.
903:
624:
610:
596:
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568:
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369:With the death of the Barberini
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1019:, Bruce Boucher, pages 152-153.
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993:, Vol. 1, Yale, 1985, pp. 94–6,
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1070:17th-century Italian sculptors
977:Bernini: His Life and His Rome
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811:Compare the prior images with
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512:Critical assessment and legacy
169:
13:
1:
1030:"Busts of Algardi's children"
858:Norwich, John Julius (1990).
844:
746:Bonacorsi-Ludovisi collection
726:Works by Algardi in Europeana
491:San Nicola da Tolentino, Rome
162:, one of the major rivals of
975:Mormando, Francesco (2011).
704:International Herald Tribune
189:Ferdinando I, Duke of Mantua
182:. However, his aptitude for
27:Italian sculptor (1598–1654)
7:
401:Giovanni Francesco Grimaldi
10:
1091:
715:Images of nearly all works
638:
547:
348:Victoria and Albert Museum
224:and his fellow Bolognese,
1060:Italian Baroque sculptors
1017:Italian Baroque Sculpture
669:Italian Baroque Sculpture
652:. Yale University Press.
520:in a sober but immediate
324:Santa Maria in Vallicella
322:with kneeling angels for
271:are either distracted by
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81:
52:
48:
39:
32:
831:Assumption of the Virgin
779:Palazzo dei Conservatori
731:
688:Artnet Resource Library:
487:Vision of Saint Nicholas
416:Royal Palace of Aranjuez
336:The Martyrdom of St Paul
926:Encyclopædia Britannica
441:, St. Peter's Basilica.
1075:Italian male sculptors
667:Bruce Boucher (1998).
442:
366:
248:
234:Santa Maria del Popolo
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453:. It was created for
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365:, Capitoline Museums.
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295:and iconic images of
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1065:Artists from Bologna
835:Santa Maria Maggiore
814:Bernini's Urban VIII
430:Fuga d'Attila relief
406:In 1650 Algardi met
393:Villa Doria Pamphili
174:Algardi was born in
164:Gian Lorenzo Bernini
989:Montagu, Jennifer.
921:Algardi, Alessandro
798:, Saint Petersburg
696:Algardi, sculptures
694:Web Gallery of Art:
576:Maurizio Frangipane
455:St Peter's Basilica
255:, the third of the
207:Tomb of Pope Leo XI
156:Francesco Borromini
991:Alessandro Algardi
943:(1978); pp. 90–95.
690:Alessandro Algardi
681:2007-09-27 at the
650:Alessandro Algardi
443:
386:Capitoline Museums
367:
332:San Paolo, Bologna
316:Pietro Boncompagni
249:
144:Alessandro Algardi
141:
85:10 June 1654
34:Alessandro Algardi
952:Boucher pp. 121–2
887:. Rome: Marcardi.
495:Francesco Barrata
397:Girolamo Rainaldi
222:Pietro da Cortona
211:Propelled by the
201:Ludovico Ludovisi
199:nephew, Cardinal
180:Agostino Carracci
160:Pietro da Cortona
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382:Camillo Pamphilj
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979:. p. 149.
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869:978-0198691372
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829:'s crowded
783:Campidoglio
562:A Gentleman
518:physiognomy
320:Philip Neri
305:Duquesnoy's
289:Magnanimity
281:Magnanimity
253:Pope Leo XI
226:Domenichino
197:late pope's
170:Early years
135:Terracotta
1044:Categories
845:References
522:naturalism
328:Saint Paul
303:resembles
301:Liberality
285:Liberality
261:Urban VIII
112:Occupation
533:Duquesnoy
424:Salamanca
217:Barberini
184:sculpture
93:(aged 58)
679:Archived
648:(1985).
375:Pamphilj
213:Borghese
116:Sculptor
914::
781:on the
639:Sources
548:Gallery
467:baroque
420:Neptune
307:famous
269:Justice
265:Charity
176:Bologna
148:Baroque
137:modello
67:Bologna
18:Algardi
908:
866:
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501:, and
481:, and
459:Attila
297:Wisdom
293:Athena
257:Medici
193:Venice
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99:
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732:Notes
412:Spain
277:Death
273:putti
864:ISBN
833:for
654:ISBN
477:and
338:and
283:and
267:and
215:and
158:and
152:Rome
97:Rome
82:Died
53:Born
923:".
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