Claudia Kryza-Gersch: "Why Multiplicity? On the Production of Small Bronzes in the Italian Renaissance"
At the end of the sixteenth century Giambologna dominated the art of the small bronze, and his statuettes were highly prized by rulers and sophisticated collectors across Europe. In principle, the master’s models could be endlessly reproduced in bronze casts. Research undertaken for the upcoming exhibition Renaissance and Baroque Bronzes from the Hill Collection will show how and why replication became a major characteristic of the art of the small bronze and investigate whether multiplicity was considered a virtue.―This lecture is made possible by the Robert H.
