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dc.coverage.spatialSite: Florence, Tuscany, Italyen_US
dc.coverage.temporal1582 (creation)en_US
dc.creatorGiambolognaen_US
dc.date1582en_US
dc.date.accessioned2013-07-11T20:51:46Z
dc.date.available2013-07-11T20:51:46Z
dc.date.issued1582en_US
dc.identifier224505en_US
dc.identifier.otherarchrefid: 600en_US
dc.identifier.urihttp://hdl.handle.net/1721.3/133080
dc.descriptionBas-relief at base of sculpture, north side, detail at center; Giambologna's third great marble group, the Rape of a Sabine (1582; Florence, Loggia Lanzi), represented the climax of his career as a figure sculptor, combining three figures into a cohesive group, an idea that had obsessed Michelangelo without his ever having been permitted to realize it in marble. The spiral composition means that the group cannot be fully comprehended from any single viewpoint. Technically, the sculpture is a masterpiece of virtuosity, pushing to its furthest limits the technique of undercutting, which Giambologna had observed in Hellenistic carving, and the use of which distinguishes his work so sharply from Michelangelo's. Source: Grove Art Online; http://www.groveart.com/ (accessed 12/2/2007)en_US
dc.format.mediummarbleen_US
dc.rights© Scott Gilchrist, Archivision, Inc.en_US
dc.subjectmythology (Classical)en_US
dc.subjectMannerist (Renaissance-Baroque style)en_US
dc.titleRape of a Sabineen_US
dc.typeimageen_US
dc.rights.accessLicensed for educational and research use by the MIT community onlyen_US
dc.identifier.vendorcode6A1-GB-RS-D5en_US
vra.culturalContextItalianen_US
vra.techniquecarving (processes)en_US
vra.worktypesculpture (visual work)en_US
dc.contributor.displayGiambologna (Flemish sculptor, 1529-1608)en_US


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