Blessed Ludovica Albertoni

Properzia de Rossi was one of the most prolific female sculptors of the 16th century. According to Theresa Schwartz de Rossi was born in 1500 (Schwartz 14) and “… a child prodigy… some of her carvings, accomplished when was eight years old, were collected and preserved” (Schwartz 15). De Rossi would become known not only for her”…intricate carvings on cherry- and peach-stones… [but would] later progressed to sculpting on a larger scale in marble” (Quinn 134). De Rossi produced important public work in Bologna. During a time where many public buildings where under reconstruction, competitions would be held where artist had to compete for commissions. At less than 20 years old, de Rossi would compete in one such competition, for which “… [she] had to make a marble bust of a local nobleman to prove she could sculpt the human form…” (Schwartz 15) she would win this competition and the commission.

The stone sculpture is made from marble. The artist remains unknown, but it was restored by the Italian Vincenzo Pacetti, an eighteenth-century sculptor. It is a Roman copy of a Greek work of the fourth century B.C. It is a medium size statue with a height of 82 3\4 in. (210.2 cm). Vincenzo Pacetti (1746-1820) was an Italian sculptor dedicated to restoring classical sculptures and then sell them to the rich.

Perhaps it was by it’s great size, the fact that it is on display right in the center of the room, or the intense red and bright gold glistening with the light shinning over it. The two things I noticed just by looking at it were the subject of the painting and the odd flatness depicted. The painting is clearly of Virgin Mary with Christ in her arms. There are two angels floating above her head on either side holding pink, yellow, and white flowers and ribbons with Hail Mary written on them in Spanish. Both Christ and Mary’s garments are of the same vibrant red cloth with intricate gold detailing. The flatness of her dress and of Christ was rather odd and certainly made it stand out. Upon reading the didactic text I found out that the painting is of a statue which was on special occasions paraded around the city, on a platform like the one depicted, to transmit its holiness. I also found out that the purpose of the contrast between the flatness of the garments and everything else was suggests that the painter wanted to emphasize the richness of the textiles rather than their spatial features. The man on the bottom corner was more than likely the man who commissioned the painting in such grandeur and extravagant manner mostly as a symbol of his status and to show that he could afford such a

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

This Revival was a “comprehensive effort composed of four major elements: 1. Ecclesiastical or structural reconfiguration. 2. Religious orders. 3. Spiritual movements. 4. Political dimensions.” (Laberge) One of the most passionate Catholic who took part in Counter Reformation is Gian Lorenzo Bernini, a sculptor, architect and a painter. Bernini’s best stone art work, called Ecstasy of Santa Theresa, (Appendix 2) is a marble sculpture of a Catholic Saint who at the time of the sense was actually in her 50s. However, Bernini portrays her as a young woman in her 20s. Santa Theresa had a vision of the love of God appearing to her as a gorgeous young man, an angel, who pierced her body, with the golden arrow of divine love. She wrote about this vision and responded to it spiritually and physically. It is important to point out that Bernini’s intention was the reference to sexual pleasure as a religious experience. He meant to draw people back in to the Church with such alluring art works.

Teresa is a sculpture created by the Baroque artist Gianlorenzo Bernini. Bernini included religion along with a strong sense of sexuality in his sculpture of Teresa. In this sculpture, an angel is standing over Teresa with an arrow in his hand, while Teresa’s facial expression suggests that she is having a sexual orgasm. This sculpture was based on Saint Teresa’s description of her sensual experience with an angel (Sayre 681). The imagery Bernini uses suggests that Teresa she is feeling an intense physical desire, and a strong emotional connection to the Angel and Christ.

After Michelangelo moved to Rome, one of the cardinals within the catholic church commissioned him to create a sculpture called ‘‘La Pieta.’’ ‘‘La Pieta’’ was sculpted from a single piece of marble stone and it was a representation of Christ and his mother Mary. This 6 foot by 6 foot sculpture only took 1 year for Michelangelo to complete it. The sculpture quickly became known for all the details that included the folding of the cloths, the ribs, and the bones which are incredibly difficult to sculpt.

The second is the use of lighting. On the right side the woman is bright because of the light shining on her illuminating her body and features. Yet her head is turned to the left looking away from the light making the emotion of the painting more than just sexual but in a way innocent and unsure. The idea of female innocence as a part of sexual nature of women has transcended time and is still a huge part of art and ways of thinking. Contemporary art follows some of the key features of the art that came before it, making it easy to identify representations of sensual

Created in 1489 this masterpiece is made out of pure marble. This sculpture is located in the Vatican City. At first glance this sculpture looks like child dead in a mother's arms, which is correct but there is more too it. The sculpture represents the crucifixion of Jesus Christ. Its shows his mother Mary holding him and he lays there dead. A very little detail that usually goes unnoticed is that Mary is not touching her son directly, but a cloth is between the two. This signifies the Higher Renaissance belief in Neoplatonic, that the beauty on earth signifies God's beauty. This masterpiece is not only amazing by the meaning but the glorious detail that Michelangelo was able to go into with practically a hammer and chisel.

In 1408, I was back in Florence at the workshops of the cathedral and completed the life-sized marble sculpture, David. It has a Gothic style and an expressionless face. It reflects the influences of sculptors of the time. David is probably one of my most famous works. I also developed my own style with figures that are much more dramatic and emotional. Between 1411 and 1413, I sculpted the marble figure, St. Mark. In 1415 I completed the marble statue of a seated St. John the Evangelist for the cathedral in Florence. Around 1425, I began a partnership with Italian sculptor and architect Michelozzo. WE went to Rome and made several architectural sculptor tombs, including the tomb of Antipope John XXIII and the tomb of Cardinal Brancacci. In 1430 Cosimo de’ Medici assigned me to do another statue of David but this time in bronze. Then in 1443, I was called to the city of Padua by the family of Erasmo da Narni. In 1450, I completed a bronze statue called Gattamelata. It showed Erasmo riding a horse with full battle dress. Finally in 1455 I returned to Florence and completed Magdalene

The Metropolitan Art Museum has a multitude of art galleries that hold a variety of art pieces that have their own share of stories. The artwork that I chose to dig into the story of is a piece that the museum credits to have been done by the High Renaissance artist, Michelangelo Buonarroti, himself. This particular work is a type of sculpture in which the figures is shown in a three-dimensional form, or freestanding sculpture, that is standing at a height and width of 37 x 13 ¼ and is made purely out of Carrara marble. The statue appears to no more than a young man, comparable to a putti, standing in the contrapposto position which gives it a certain look of

There are a total of 3,350 inmates currently on death row. These people include all of the main races in America. In 1965 Robert Massie murdered a mother of two in California during a robbery. Mere hours before he was scheduled to be executed. A stay was issued so he could testify, he had found evidence to support his cases and got parole and a second chance. Eight months later he robbed and murdered a businessman in California. This is a obvious that the death penalty should not be abolished, better yet supported in all states. The death penalty will prove to all mentally unstable criminals the horrors of death and will force them to face it eye to eye if they choose to commit the crime.

Donatello around the mid 15th century creating a turning point in sculpture be adding meaning to his creations as he watched them grow. Sarah McHam, wrote in her article titled “Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Florence” the power of Donatello’s bronze sculptures and how they signaled a start for Florence during the Medici’s Rule. The main argument of this article focuses on the iconography and symbolism used in Donatello’s “David”, and “Judith and Holofernes.” Both are bronze and commissioned by the Medici family and located near each other. Both don’t have much in common outside of their placement and the idea of using old Greek and Roman poses, and the idea of a hero and placing it in modern times. Another concept is the inspiration for “Judith” might have been through a story titles “Policraticus” which emphasis murder and how powerful that sculpture was in presenting that concept.

Paul by Alessandro Algardi is a crucial start to the exhibition. This statue is the only piece in the exhibition where the executioner has yet to take the sword to the victim’s neck. Thus it is the first step in what will be a chronological journey through the exhibition. Not only is it critical to have this piece for the beginning but also the end, as it mirrors the last piece in the exhibition as I will discuss later. Another reason to include Beheading of St. Paul is because Baroque sculptors are often overlooked due to Bernini’s popularity. Because of its location in a church I doubt Beheading of St. Paul would be able to be put on loan. Instead I would request a marble casting of the original sculpture to be made as they did for Michelangelo’s Pieta when it came to the St. Paul Cathedral in St. Paul

Indeed, it is not possible to imagine someone could compete with Gianlorenzo Bernini in feeling of the Baroque style in sculpture. Thus, the most prominent works of the artist, known for