Lorenzo Bartolini
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[[Image:Lorenzo Bartolini.jpg|thumb|right|Lorenzo Bartolini by [[Jean Auguste Dominique Ingres|Ingres]]]]
'''Lorenzo Bartolini''' ([[7 January]] [[1777]] - [[20 January]] [[1850]]) was an [[Italy|Italian]] [[sculpture|sculptor]] who infused his [[neoclassicism]] with a strain of sentimental piety and naturalistic detail, while he drew inspiration from the sculpture of the [[Florentine Renaissance]] rather than the overpowering influence of [[Antonio Canova]] that circumscribed his Florentine contemporaries.
==Biography==
Bartolini was born in Vernio, near [[Prato]], [[Tuscany]].
After studying at the Florentine Academy, honing his skills and reputation as a modeller in alabaster, he went in 1797 to [[Paris]], where he studied painting under [[Desmarets]], and afterwards sculpture under [[François-Frédéric Lemot]]. The [[bas-relief]] ''Cleobis and Biton'', with which he gained the second prize of the Academy in 1803, at once established his fame as a sculptor and gained for him a number of influential patrons. His bas-relief of the ''Battle of Austerlitz'' was among those executed for the column erected in [[Place Vendôme]]. He also executed many minor pieces for [[Vivant-Denon]], besides portrait busts of the opera composers [[Méhul]] and [[Cherubini]]. His great patron, however, was [[Napoleon]], for whom he executed a colossal bust, and who sent him, on the recommendations of his sister [[Elisa Baciocchi]], to [[Carrara]] in 1807, to direct the academy of sculpture, in spite of local opposition. Here he remained as the quasi-official portrait sculptor to the Buonapartes till after the fall of Napoleon. He then took up his residence in [[Florence]], where he resided till his death.
[[Image:Bartolini-ninfa2.jpg|La ninfa con lo scorpione|thumb|left|''Nymph and the Scorpion'' [[Musée du Louvre|Louvre]]]]
In Florence, his Bonapartist associations and his departures as an artist from the strict [[Antonio Canova|Canovan classicism]] being taught at the Academy<ref>TCI ''Firenze e Dintorni'' (1964:30) characterized most Florentine neoclassical sculptors as ''canoviani di modesto valore'' ("Canovans of modest worth"); the Florentine Galleria d'Arte Moderna used to begin with a gallery with Canova's bust of Napoleon in the center of a gallery that was surrounded by portrait busts, in which Bartolini's ''Bust of Carlo Ludovico di Borbone, duca di Lucca'' could be directly compared with busts by Bartolini's contemporaries.</ref>" limited his opportunities. His naturalistic and somewhat sentimental marble ''L'Ammostatore'' ("The Bird's-nest Stealer", 1820) took its inspiration from under-appreciated Quattrocento Florentine sculptors like [[Andrea Verrocchio]]. In his decade of impoverishment, supportive commissions came from foreigners; the funeral monument to Princess Sofia Zamoyski Czartoriski (died 1837) in Santa Croce, Florence's Westminster Abbey, is an anti-classical statement for naturalism. Two other Bartolini monuments in Santa Croce can be compoared with it; in the Capella Giugni is his monument to Carlotta Buonaparte (died 1839), but when the occasion required a more formal approach, as in the monument to [[Leone Battista Alberti]], the result could be chilly. An outstanding commission came in 1830 from the sons of the Russian prince Nicola Demidoff, who had retired to Florence, to sculpt a monument, which is still to be seen in Piazza Demidoff, Florence. The commission's multiple figures took shape during Bartolini's last decades; it was completed by Bartolini's assistant Pasquale Romanelli.
His works are varied and include an immense number of portait busts. The best are, perhaps, the group of ''Charity'' (1824), the ''Hercules and Lichas'' and ''Faith in God'', commissioned by the widow of [[Giuseppe Poldi Pezzoli]]. His portrait statue of Macchiavelli took its place as his only commission among the long series of historical Florentine males provided for the empty exterior niches of the [[Uffizi]]. <!--this isn't a very good characterization:According to the 1911 Encyclopedia Britannica, popular opinion in Italy associates his qualities as a sculptor with those of [[Bertel Thorvaldsen]] and [[Antonio Canova]].-->
==Notes==
{{reflist}}
==External links==
*[http://www.scultura-italiana.com/Biografie/Bartolini.htm La Scultura Italiana: Lorenzo Bartolini] (Italian)
==Gallery==
<gallery>
Image:Macchiavelli01.jpg|Machiavelli, from the Uffizi courtyard, Firenze
Image:Bartolini-Fiducia in Dio 45degrees.jpg|La Fiducia in Dio (copy from [[Hermitage Museum|Hermitage]])
Image:Bartolini-Fiducia in Dio-detail hands.jpg|La Fiducia in Dio (copy from [[Hermitage Museum|Hermitage]]), detail
Image:Bartolini-Fiducia in Dio detail head.jpg|La Fiducia in Dio (copy from [[Hermitage Museum|Hermitage]]), detail
Image:Bartolini-Nymph with a Scorpion-45degrees.jpg|La ninfa con lo scorpione
Image:Bartolini-Nymph with a Scorpion-0degrees.jpg|La ninfa con lo scorpione
Image:Bartolini-Nymph with a Scorpion-300degrees.jpg|La ninfa con lo scorpione, detail
Image:Lorenzo Bartolini-L'Ammosstatore-Hermitage.jpg|''L'Ammossatore'' ("The Grape-treader") 1818 ([[Hermitage Museum]])
</gallery>
==References==
*{{1911}}
*Touring Club Italiano (TCI) ''Firenze e Dintorni'' 1964.
{{DEFAULTSORT:Bartolini, Lorenzo}}
[[Category:1777 births]]
[[Category:1850 deaths]]
[[Category:People from the Province of Prato]]
[[Category:Italian sculptors]]
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[[ru:Бартолини, Лоренцо]]