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Topic: Baccio Bandinelli

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	Untitled Document
		It was a Hercules, and from Baccio's talk it was expected to surpass Buonarroti's David; but as his deeds did not correspond with his words, nor the work to his boasts, Baccio lost greatly in the esteem of artists and of all the city.
		Baccio, desiring to hear what people said of it, sent an old pedagogue whom he kept in the house into the piazza, bidding him report to him what he heard.
		Nor could Baccio conceal his opinion, but betrayed it to every one, and he now found one ready to answer him; for saying evil things of Benvenuto in the presence of the duke, Benvenuto, who was no less proud, gave him back what he received.
	www.cartage.org.lb /en/themes/GeogHist/histories/histdocts/Biblio16/A16/Vasari/vasari22.htm (2731 words)

	Publications
		Baccio Bandinelli and the Choir of Florence Cathedral
		RETROSPECTION: Baccio Bandinelli and the Choir of Florence Cathedral
		RETROSPECTION: Baccio Bandinelli and the Choir of Florence Cathedral (CD-ROM)
	www.gsd.harvard.edu /research/publications/in_print/conferences/retrospection.html (972 words)

	Bloomsbury.com - Research centre
		Bandinelli's group represents Hercules and Cacus (1534), the anatomy of which was scathingly described by Cellini as a 'sack of melons'.
		The venomous rivalry between Bandinelli and Cellini is graphically portrayed in the latter's autobiography.
		Bandinelli's finest sculptures are perhaps the series of marble reliefs in the choir of Florence Cathedral.
	www.bloomsbury.com /ARC/detail.asp?entryid=101608&bid=1 (144 words)

	Baccio Bandinelli Online
		Baccio Bandinelli in the Louvre Museum Database, Paris (only available in French)
		Baccio Bandinelli in the Los Angeles County Museum of Art Database
		All images and text on this Baccio Bandinelli page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/bandinelli_baccio.html (183 words)

	Art History
		Baccio Bandinelli and Art at the Medici Court: A Corpus of Early Modern Sources by Louis Alexander Waldman (American Philosophical Society) More than five centuries after his birth, the contradictions embodied by the Florentine sculptor Baccio Bandinelli (1493–1560) remain as mysterious as ever.
		But the originality and power of Bandinelli's work, and the long shad-ow it cast over the arts in sixteenth-century Florence and Rome, are as unmistakably clear today as they were to the artist's Medici patrons, who recognized his art as a potent tool for constructing an image of dynastic legitimacy.
		All of Bandinelli's major artistic commissions are fully documented, as is his establishment of one of the earliest artistic academies.
	www.wordtrade.com /arts/arthistoryR.htm (5592 words)

	Raphael and His Age - FRAME
		The technique of this drawing, attributed to Francesco Salviati both by Catherine Monbeig Goguel (in a letter to Barbara Brejon de Lavergnée of 1995) and by the compiler, is inspired by Baccio Bandinelli, one of the most distinctive and assured draftsmen active in Florence during the second and third decades of the cinquecento.
		Salviati worked with Bandinelli for a while as a teenager and clearly relished his red-chalk style, in which suppression of individual strokes created "touchless," subtly modulated surfaces (Fig.
		The contour is also drawn more distinctly, with more constant pressure, than is habitual in Bandinelli; indeed its wire-like tension is close to the contours of the chalk drawings of Rosso Fiorentino, another artist who profoundly influenced Salviati, and to whom many of the latter’s drawings have, in the past, been attributed.
	www.on-frame.com /frame_raphael/us/03expo/057.html (381 words)

	Biography
		The commission had originally been intended for Michelangelo himself, and Bandinelli's ponderous figure, which he had boasted would surpass David, was ridiculed by Cellini and others.
		Bandinelli had a habit of failing to fulfil his commissions and Cellini's accusations of incompetence had much justification.
		In return, Bandinelli attempted to sabotage Cellini's career, as he also did with another rival, Ammanati.
	www.wga.hu /bio/b/bandinel/biograph.html (124 words)

	Restoration of the statue of Hercules and Cacus (Site not responding. Last check: 2007-10-20)
		Bandinelli realised that the block was not big enough for the group which had been chosen by the Pope; he thus prepared other wax models, among which Clemens VII chose the one which was to be made.
		Bandinelli moulded then an earthenware model as big as the block of marble and carved the statue as far as the abdomen of Hercules, when in 1527 news of the sack of Rome reached Florence.
		In 1534, having Bandinelli finished the statue, work was started on the marble base of the monument, first putting medals and memorial letters of Clemens VII and Duke Alessandro inside.
	www.comune.firenze.it /english/bellearti/restauro.htm (898 words)

	Wanderer in Florence, A (Site not responding. Last check: 2007-10-20)
		The group on the right represents Hercules and Cacus, [5] and is by Baccio Bandinelli (1485-1560), a coarse and offensive man, jealous of most people and particularly of Michelangelo, to whom, but for his displeasing Pope Clement VII, the block of marble from which the Hercules was carved would have been given.
		Bandinelli in his delight at obtaining it vowed to surpass that master's David, and those who want to know what Florence thought of his effort should consult the amusing and malicious pages of Cellini's Autobiography.
		On its way to Bandinelli's studio the block fell into the Arrio, and it was a joke of the time that it had drowned itself to avoid its fate at the sculptor's hands.
	manybooks.net /pages/lucasev10761076910769-8/86.html (354 words)

	Renaissance Connection
		The Italian sculptor Baccio Bandinelli (1488-1560) commissioned this engraving from printmaker Enea Vico to celebrate his achievements as an artist.
		Bandinelli is the figure wearing a cross on his chest at the extreme right.
		During the Renaissance, the training of a sculptor included the understanding of mathematical perspective, optics, geometry and anatomy, elevating the status of the artist from the mechanical guilds of goldsmithing and carpentry to the liberal art of poetry.
	www.renaissanceconnection.org /baccio.php (206 words)

	Bartolommeo Bandinelli Biography
		Bartolommeo (or Baccio) Bandinelli (November 12, 1493 - February 7, 1560), Florentine sculptor, was the son of an eminent goldsmith, and from him Bandinelli obtained the first elements of drawing.
		The ruling motive in his life seems to have been jealousy both of Benvenuto Cellini and of Michelangelo, one of whose cartoons he is said to have torn up and destroyed.
		He is regarded by some as inferior in sculpture only to Michelangelo, with whom a comparison unfavourable to Bandinelli is tempted in such works as the marble colossal group of Hercules and Cacus in the Piazza del Gran Duco, and the group of Adam and Eve in the Bargello.
	www.biographybase.com /biography/Bandinelli_Bartolommeo.html (191 words)

	Baccio Bandinelli (Getty Museum) (Site not responding. Last check: 2007-10-20)
		Bandinelli's father, a prominent Florentine goldsmith, was his most influential teacher, exposing him to Leonardo da Vinci's drawings and sculpture.
		Bandinelli studied ancient and contemporary sculpture, but most of all he studied Michelangelo, becoming first his imitator, then his rival.
		Bandinelli's greatest talent was disegno, that combination of design and drawing underlying Italian Renaissance art.
	www.getty.edu /art/collections/bio/a489-1.html (155 words)

	'Hercules seated on a grassy bank' c1515, Baccio Bandinelli (Bartolomeo di Michelangelo) (1493 - 1560)
		Baccio Bandinelli (Bartolomeo di Michelangelo) (1493 - 1560)
		Bandinelli, a young sculptor and protégé of the Medici family from Florence, first visited Rome in the spring of 1514.
		Although mainly a sculptor, Bandinelli was also praised during his career for his drawing skills.
	www.liverpoolmuseums.org.uk /walker/collections/paperWorks/bandinelli.asp (256 words)

	Pietà by BANDINELLI, Baccio
		Vasari relates that when Bandinelli heard Michelangelo was carving a Pietà for his tomb, he immediately began to plan his own, which he finished shortly before he died.
		Like Michelangelo's, it includes an idealized self-portrait as Joseph of Arimathea or Nicodemus and was to be a four-figure group with St Catherine of Siena and St John the Baptist.
		The Christ may be a portrait of Bandinelli's son.
	www.wga.hu /html/b/bandinel/pieta.html (119 words)

	Enea Vico: The Academy of Baccio Bandinelli (17.50.16) \| Object Page \| Timeline of Art History \| The Metropolitan ... (Site not responding. Last check: 2007-10-20)
		Enea Vico: The Academy of Baccio Bandinelli (17.50.16)
		Baccio Bandinelli (1488–1560), an ambitious Florentine sculptor and life-long rival of Michelangelo, commissioned this
		Some of their poses and groupings are reminiscent of Raphael's famous fresco The School of Athens, an analogy that further exalts the character of Bandinelli's enterprise.
	www.metmuseum.org /toah/hd/anat/hod_17.50.16.htm (141 words)

	APPREHENDER LES ETOILES : LES GLOBES CELESTES (Site not responding. Last check: 2007-10-20)
		Rossi began his career as an apprentice in the workshop of Baccio Bandinelli, before leaving for Rome in 1546.
		Although the position is somewhat different from that of the present bronze, the tilt of the head is comparable, as well as the position of the arms and Hercules’ muscular body.
		The muscular style of the torso shows the influence of Bandinelli and Michelangelo and contrasts with the classicism of Jean de Bologne.
	www.galerie-kugel.com /c/c3_en.htm (382 words)

	Baccio Bandinelli (1488 - 1560) Artwork Images, Exhibitions, Reviews
		Baccio Bandinelli’s father was a successful goldsmith who exposed him to the work of Leonardo da Vinci and Michelangelo.
		Despite these achievements, Bandinelli was despised by his colleagues for being selfish, greedy, and a social-climber.
		Agostino Musi (Agostino Veneziano), The Academy of Baccio Bandinelli, 1531
	wwar.com /masters/b/bandinelli-baccio.html (375 words)

	artnet.com: Resource Library: Rossi, Vincenzo de’ (Site not responding. Last check: 2007-10-20)
		He began his career as an apprentice to Baccio Bandinelli, possibly in 1534.
		Nevertheless, the composition of the group is balanced in that St Joseph’s stance and gesture and the inclination of his head are mirrored in the pose of his son.
		This practice and the adoption of a frontal viewpoint (derived from Bandinelli) is repeated in de’ Rossi’s subsequent figural groupings in progressively more sophisticated ways.
	www.artnet.com /library/07/0740/T074048.asp (307 words)

	BARTOLOMMEO BANDINELLI - LoveToKnow Article on BARTOLOMMEO BANDINELLI (Site not responding. Last check: 2007-10-20)
		Florentine sculptor, was the son of an eminent goldsmith, and from him Bandinelli obtained the first elements of drawing.
		Showjog a strong inclination for the fine arts, he was early placed under Rustici, a sculptor, and a friend of Leonardo da Vinci, with whom he made rapid progress.
		lie is regarded by some as inferior in sculpture only to Michelangelo, with whom a comparison unfavourable to Bandinelli is tempted in.
	www.1911encyclopedia.org /B/BA/BANDINELLI_BARTOLOMMEO.htm (184 words)

	Hercules and Cacus (Site not responding. Last check: 2007-10-20)
		However, the marble was not delivered until 1525 and was given to Bandinelli as Michelangelo was working on the Medici Chapel.
		In 1528, with the republicans in control, Michelangelo was given the block for a Samson and Philistine but after the Medici return in 1530 he was instructed to resume work in the chapel and Bandinelli to continue the Hercules and Cacus.
		After seeing it installed as a pendant to the David in the vast Piazza, Bandinelli concluded that the muscles were "too sweet" and further exaggerated it.
	keptar.demasz.hu /arthp/html/b/bandinel/hercules.htm (182 words)

	Ruskin MP I Notes (Site not responding. Last check: 2007-10-20)
		He expected all artists to be as pleased with them as he was, so he polished them with great care.
		Although 'fair and one of the best that Baccio did it was lampooned by the priest as well as the people'(Vasari, Le Vite, Testo V.267; Life of Bandinelli).
		Ruskin agrees with such assessments of Bandinelli (see Ruskin on Bandinelli).
	www.lancs.ac.uk /users/ruskin/empi/notes/ibandin02.htm (160 words)

	Baccio Bandinelli -- Britannica Concise Encyclopedia - The online encyclopedia you can trust!
		Bandinelli was trained as a goldsmith by his father, Michele di Viviano de' Brandini, who was patronized by the Medici family.
		Accounts of Bandinelli given in Giorgio Vasari's Lives and in the Autobiography of Benvenuto Cellini represent him as jealous, malignant, and untalented.
		Bandinelli's surviving works prove him to have been a more distinguished sculptor than his contemporaries allowed.
	www.britannica.com /ebc/article?tocId=9012136 (231 words)

	Giorgio Vasari (Site not responding. Last check: 2007-10-20)
		GIORGIO VASARI, an admired and successful artist and architect in his own right, is celebrated today primarily for his pioneering work as one of Italy's premiere art historians.
		Already a student of Guglielmo da Marcilla, Vasari removed to Florence when he was just 13 years of age to continue his studies under Michelangelo, Andrea del Sarto and Baccio Bandinelli.
		Later, after a four-year period in Rome, 1542-6, highlighted by the major painting cycle that he executed for the Palazzo della Cancelleria [Chancellery] under the patronage of Cardinal Farnese, Vasari returned to Florence.
	www.boglewood.com /cornaro/xvasari.html (235 words)

	Connected with - Wardrobe Blog - wardrobe.ishimshopping.com (Site not responding. Last check: 2007-10-20)
		After the death of Leo, the stone was assigned to Baccio Bandinelli; but Michelangelo, being in favour with the Government at the time.
		Michelangelo had some reason to be jealous of Bandinelli, who exercised considerable influence at the Medicean court, and was an unscrupulous enemy both in word and deed.
		His first intention, in which Bandinelli followed him, was to execute a Hercules trampling upon Cacus, which should stand as pendant to his own David.
	wardrobe.ishimshopping.com /entry/11210999735788 (445 words)

	Wisconsin Bookwatch: Baccio Bandinelli.(Book Review) @ HighBeam Research (Site not responding. Last check: 2007-10-20)
		Baccio Bandinelli And Art At The Medici Court: A Corpus Of Early Modern Sources by Louis A. Waldman (Assistant Professor of Italian Renaissance and Baroque Art, University of Texas--Austin) is a collection of source information concerning Florentine sculptor Baccio Bandinelli (1493-1560).
		Baccio Bandinelli And Art At The Medici Court presents its wealth of documents, many from the private archive of the Bandinelli family, entirely in their original Italian with some English annotations; however, the many documents themselves are not translated.
		All inquiries regarding rights should be directed to the Gale Group.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:123926514&refid=ip_encyclopedia_hf (164 words)

	Crispian Riley-Smith - Giovanni di Benedetto Bandini (Site not responding. Last check: 2007-10-20)
		However the project was started by his master Baccio Bandinelli in 1547.
		On the death of Bandinelli in 1560 a number of the sculptures had been completed, however Bandini completed the majority of them.
		However Middeldorf connected one of these drawings to a sculpture of St. James the Less of 1573-6 in Florence Cathedral by Bandini4, thus confirming Bandini as the draughtsman.
	www.riley-smith.com /crispian/dwg_info.php?dwg=51 (439 words)

	Laocoön by BANDINELLI, Baccio
		It is usually dated to the 2nd or 1st century BC or the 1st century AD, although whether it is an original Hellenistic piece or a Roman copy has long been a matter of dispute.
		Bandinelli was commissioned for making a copy of the Laoöcon by Pope Leo X. In his copy the artist made several modifications and additions to the original.
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	gallery.euroweb.hu /html/b/bandinel/laocoon.html (141 words)

	Baccio Bandinelli Artworks and Fine Art at arthistorynet.com
		Nicolas Beatrizet, The Massacre of the Innocents, after Marco Dente da Ravenna"s engraving of a design by 16th century
		Enea Vico, The Studio of after Baccio Bandinelli, circa 1546
		BANDINELLI, Baccio BANDINELLI, Baccio Italian sculptor, Florentine school (b.
	www.absolutearts.com /masters/b/bandinelli-baccio.html (195 words)

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