| c. 1455 |
Born in or near Mantua, the son of a butcher. |
|
| 1470s |
Probably receives training as a goldsmith, perhaps in the studio of Cristoforo di Geremia, a Mantuan artist who restored the ancient bronze equestrian statue of Marcus Aurelius in Rome (1466–68). Antico's statuette replica of
the monument is on view in the exhibition. |
|
| c. 1470s–80s |
Restores the celebrated ancient marble Horse Tamers on the Quirinal Hill during an undocumented trip to Rome, carving the inscription ANTICVS MANTVANVS RF (Antico the Mantuan remade this) on the pier of one group. |
|
| c. 1478 |
Becomes court artist to his first great patron, Gianfrancesco Gonzaga, son of the Marchese of Mantua. Keeps a workshop at Bozzolo castle. Early commissions include portrait medals and perhaps the Gonzaga Urn —
on view in the Cabinet — bronze statuettes, reliefs, and silver objects (lost). |
|
| 1487 |
Mentioned by his nickname, Antico (the antique one), in a letter from Gianfrancesco's wife, Antonia del Balzo. This is the first documented reference to the artist. |
|
| 1495 |
First documented trip to Rome. |
|
| 1496 |
Receives a bequest and a dowry for his wife, Caterina da Crema, a member of Antonia del Balzo's retinue, upon Gianfrancesco's death. Begins serving his second great patron, Ludovico Gonzaga, bishop-elect of Mantua. |
|
| 1497 |
Second documented trip to Rome, most
likely made on behalf of Francesco Gonzaga,
Marchese of Mantua, to acquire antiquities for
his wife, the renowned collector Isabella d'Este,
the Marchesa. |
|
| 1498 |
Two statuette molds are stolen from his studio.
Ludovico imprisons the thief in order to halt
the production and distribution of unauthorized
casts. |
|
| 1499 |
Settles in Bozzolo, in a house built on land given
by Antonia del Balzo. Ludovico has a diamond
ring sent to Antico's wife, Caterina, with a
request that she encourage her husband to
hasten work on a statuette of Hercules, possibly
the cast in The Frick Collection on view here. |
|
| 1500 |
Receives the first commission for bronzes from
Isabella d'Este, which he declines because of
overwork. |
|
| 1501 |
Casts a statuette of the Spinario, an example of
which can be seen in the exhibition, for Isabella
d'Este's rooms in the Mantuan Ducal Palace.
Named "Gentleman of the Bedchamber"—an
honorary position with a salary—by Ludovico. |
|
| c. 1502–3 |
Relocates to Gazzuolo, the site of a new Gonzaga castle and Ludovico's court. |
|
| 1504 |
Casts a gold statuette (lost) for Isabella d'Este, who rewards the artist by permitting his family to run its butcher stall in Mantua free of rent. |
|
| 1506 |
Role as an adviser to Isabella d'Este on artistic matters increases following the death of Andrea Mantegna, the most eminent court artist to the Gonzagas. |
|
| 1509 |
Receives permission to transport household goods duty free between Gazzuolo and Mantua, suggesting that he worked seasonally in both locations. |
|
| 1511 |
Develops a closer relationship with Isabella d'Este, his third and final great patron, upon the death of Ludovico. |
|
| c. 1516 |
Adds "de Bonacolsi," a noble designation bestowed by the Gonzagas, to his surname. |
|
| 1519 |
Produces copies of bronze statuettes modeled at least twenty years before, as well as new models for bronze busts, for Isabella d'Este following the death of her husband, Marchese Francesco. |
|
| 1528 |
Dies in Gazzuolo. Although he was prosperous, owning several properties in and around Mantua, the artist is soon forgotten, and his reputation revives only in the early twentieth century. |
