dc.coverage.spatial | Site: Florence, Tuscany, Italy | en_US |
dc.coverage.temporal | 1595-1600 (creation) | en_US |
dc.creator | Giambologna | en_US |
dc.date | 1595-1600 | en_US |
dc.date.accessioned | 2013-07-11T20:50:58Z | |
dc.date.available | 2013-07-11T20:50:58Z | |
dc.date.issued | 1595-1600 | en_US |
dc.identifier | 224464 | en_US |
dc.identifier.other | archrefid: 598 | en_US |
dc.identifier.uri | http://hdl.handle.net/1721.3/133039 | |
dc.description | View of upper torso of Hercules; Giambologna set to work on his last autograph marble carving, which also had an equine component, for it depicted Hercules Slaying a Centaur (1595-1600; Florence, Loggia Lanzi). It originally stood on a street corner and was set high on a pedestal, which conditioned the way in which it was to be viewed--it must have looked more imposing than it does in its present location. The vigorous torsions of the bodies of victor and victim, the compressed springing of the horse-body and the excited thrashing of the tail (which is daringly undercut) build up a highly dramatic composition. Indeed, it was a proto-Baroque sculpture that was to be influential on Bernini. Source: Grove Art Online; http://www.groveart.com/ (accessed 12/9/2007) | en_US |
dc.format.medium | marble | en_US |
dc.rights | © Scott Gilchrist, Archivision, Inc. | en_US |
dc.subject | mythology (Classical) | en_US |
dc.subject | Baroque | en_US |
dc.title | Hercules Slaying a Centaur | en_US |
dc.title.alternative | Hercules and Nessus | en_US |
dc.type | image | en_US |
dc.rights.access | Licensed for educational and research use by the MIT community only | en_US |
dc.identifier.vendorcode | 6A1-GB-HN-A4 | en_US |
vra.culturalContext | Italian | en_US |
vra.technique | carving (processes) | en_US |
vra.worktype | sculpture (visual work) | en_US |
dc.contributor.display | Giambologna (Flemish sculptor, 1529-1608) | en_US |