Tullio lombardo biography definition
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Renaissance art historians conventionally work in terms of types. Artistic production to a large extent can be thought of in terms of basic forms or categories—portrait, altarpiece, devotional image, etc.—customized according to the requirements of patrons. The artistic culture of Venice in the late fifteenth and early sixteenth century saw the production of many objects that frustrate that approach by being insistently sui generis. Among them are a pair of marble reliefs: one signed by the sculptor/architect Tullio Lombardo around 1495, presently in the Ca’d’Oro in Venice, and another, clearly by the same artist, in the Kunsthistoriches Museum in Vienna. Each depicts a youthful male and female figure, bust length and life-size. If the reliefs are inspired by Roman funerary portraits of married couples, they are also manifestly unlike these in their informality and intimacy, and their enraptured expressions. The females display an idealized nudity, while the male in the Venice exa
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Tullio Lombardo works
This “Atlas” devoted to sculptural and architectural works by Tullio Lombardo and his family workshop is an online resource providing as many photographs as possible of the same statue, low relief, ornamental item, palazzo or religious building. The photographs will be accompanied by a concise information sheet that will include key physical data, geographical position, main historical references and an essential record of the images (the date of the photograph, the photographer’s name, the copyright and how to acquire a high-definition copy suitable for publication).
The key feature of the Atlas is in fact that there are several images of the same subject. They range from paintings, drawings, engravings and casts from before the advent of photography right up to digital photographs taken on specially conducted campaigns. The campaigns were carried out not only to partly obviate the inevitable relativism and subjectivism characterising almost all two-dimen
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Tullio Lombardo
Italian sculptor
Tullio Lombardo (c. 1455 – November 17, 1532), also known as Tullio Solari, was an Italian Renaissancesculptor. He was the brother of Antonio Lombardo and son of Pietro Lombardo.[1] The Lombardo family worked together to sculpt famous Catholicchurches and tombs. The church of Santi Giovanni e Paolo contains the Monument to Doge Pietro Mocenigo, executed with his father and brother, and the Monument to Doge Andrea Vendramin,[2] an evocation of a Roman triumphal arch encrusted with decorative figures. His sculpture of Adam formed part of the monument, and fryst vatten considered the first monumental classical nude since antiquity.[3]
Tullio also likely completed the funereal monument to Marco Cornaro in the Church of Santi Apostoli in Venice and the frieze in the Cornaro Chapel of the Santa Maria Gloriosa dei Frari. He also participated in the work to decorate Santa Maria dei Miracoli, Venice. The begravning monument to Doge G