Christ and St. Thomas (1467–1483) is a bronze statue by Andrea del Verrocchio made for one of the 14 niches on the exterior walls of the Orsanmichele in Florence, Italy, where it is now replaced by a cast and the original moved inside the building, . .
Christ and St. Thomas (1467–1483) is a bronze statue by Andrea del Verrocchio made for one of the 14 niches on the exterior walls of the Orsanmichele in Florence, Italy, where it is now replaced by a cast and the original moved inside the building, which is now a museum. It shows the Incredulity of Thomas, frequently represented in Christian art since at least the 5th century and used to make a variety of theological points
Verrocchio's Thomas, however, stands entirely outside the niche. Both he and Jesus must be seen from various angles to be fully understood, and although they are barely more than reliefs they give the illusion of having been sculptured in the round. Verrocchio used the niche's architectural components to accentuate crucial parts of the sculpture, placing Jesus' wound at the precise center of the niche and His head at the height at which it is encircled, like a second halo, by the niche's entablature. Verrocchio's 'Christ and St. Thomas': A Masterpiece of Sculpture from Renaissance Florence" remains at the Metropolitan Museum of Art through Oct. 17.
Verrocchio's Christ and St. Thomas: A Masterpiece of Sculpture from Renaissance Florence. Grancsay, Stephen V. "Sculpture in Steel: A Milanese Renaissance Barbute. New York: The Metropolitan Museum of Art, 1992. Domínguez Ortíz, Antonio, Concha Herrero Carretero, and José A. Godoy. Resplendence of the Spanish Monarchy: Renaissance Tapestries and Armor from the Patrimonio Nacional. New York: The Metropolitan Museum of Art, 1991. Metropolitan Museum of Art Bulletin, New se. v. 21, no. 5 (January, 1963). New York: The Metropolitan Museum of Art, 1963.
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Civic Humanism Verrocchio's "Christ and St. Thomas" (left), the last statue added to the walls of Florence's . The group replaced DonateIlo's bring out the meaning of gestures
Civic Humanism Verrocchio's "Christ and St. Thomas" (left), the last statue added to the walls of Florence's Orsanmichele, introduced a narrative element. Right: Nanni de Banco's "Four Crowned Saints," showed guild members at work in the bas relief below. The group replaced DonateIlo's bring out the meaning of gestures. Verrocchio used light and dark to statue of St. Louis of Toulouse com missioned by the Guelph Party, an in Christ's right hand is placed in such stitution of oligarchist rule which was eclipsed with the sweeping social encouraging the viewer to imagine the changes of the Renaissance.
Renaissance Sculpture Masterpieces Early Sculpture of the 15th century. The beginnings of Renaissance Sculpture as an art form sprang from the commissioning of two doors for the Baptistery in Florence. The artist tasked for this work was the local metalworker Lorenzo Ghiberti (1378-1455). Ghiberti had won a competition for the first door to be completed in bronze which was to be a replacement for an existing wooden door.
Renaissance Sculpture masterpieces, greatest works from the period . Thomas touching wounds of Jesus. Verrocchio, Doubting Thomas, 1467–83, Orsanmichele, Florence. Discover ideas about Giorgio Vasari. Andrea del Verrocchio, Christ and Doubting Thomas 1483 Bronze, height: 230 cm Orsanmichele, Florence. Andrea del Verrocchio - Incredulità di San Tommaso - and St. Thomas) Museo di Orsanmichele, Firenze Fun fact: the sculpture was made for the external walls of the Orsanmichele in. Museo di Orsanmichele, Firenze - Andrea del Verrocchio - Incredulità di San Tommaso - 1466/67-1483 (Christ and St. Thomas).
Andrea del Verrocchio (/vəˈroʊkioʊ/, also US: /-ˈrɔːk-/, Italian: ; c. 1435 – 1488), born Andrea di Michele di Francesco de' Cioni, was an Italian painter, sculptor. 1435 – 1488), born Andrea di Michele di Francesco de' Cioni, was an Italian painter, sculptor, and goldsmith who was a master of an important workshop in Florence. He apparently became known as Verrocchio after the surname of his master, a goldsmith. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop.
Verrocchio's David Restored: A Renaissance Bronze from the National Museum of the Bargello, Florence. She has published essays on Ghiberti, Donatello, and the decoration of the Florence baptistery, and her book on Ghiberti’s Gates of Paradise is forthcoming with Cambridge University Press. Marco Ciatti is Superintendent of the Opificio delle Pietre Dure, an institution of the Italian Ministry of Culture and world leader in the field of art restoration. He is also director of the Opificio’s Conservation Laboratory for Easel Paintings and Textiles and teaches history and theory of conservation.