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Image of Gallery in South Kensington
On display at V&A South Kensington
Medieval & Renaissance, Room 62, The Foyle Foundation Gallery

Bust of a member of the Navagero family

Bust
ca. 1590-1600 (made)
Artist/Maker
Place of origin

Portrait busts were displayed high in a room, above doors, fireplaces or windows. This gave family members, whether living or dead, a permanent presence in the home. The unnamed gentleman from the noble Navagero family is shown in the official robes and stole of a procurator, one of the most senior magistrates in Venice.


Object details

Categories
Object type
TitleBust of a member of the Navagero family (generic title)
Materials and techniques
Terracotta, incised on the base
Brief description
Terracotta bust of a member of the Navagero family by the workshop of Alessandro Vittoria, Italy (Venice), ca. 1590-1600
Physical description
The man is completely bald with a short square beard. His head is turned to the left, wearing a patterned robe with a high collar. The robe and stole are that of a Procurator of the Venetian Republic.
Dimensions
  • Height: 85cm
  • Width: 68cm
  • Depth: 35cm
  • Weight: 51.5kg
Measured for the Medieval and Renaissance Galleries
Marks and inscriptions
  • A.V.F. (Makers's mark; on the back, near the proper left shoulder)
  • NAVAGIER (Incised inscription; on the base at the front)
Gallery label
    Credit line
    Given by Mr F. Cavendish-Bentinck
    Object history
    The bust was in Palazzo Manfrin in Venice, when it was acquired, before 1870, for the Cavendish Bentinck collection, together with five companion busts. The Manfrin collection was formed by Count Girolamo Manfrin in the late eighteenth and early nineteenth centuries. From 1871 the bust was on loan to the V&A. It was presented to the museum in 1948 by F. Cavendish-Bentinck.
    Historical context
    Alessandro Vittoria was, together with his contemporary Giambologna, the foremost sculptor in late sixteenth century Italy. While he worked in many media and genres, his portraits have enjoyed particular critical acclaim since Vasari first praised them.
    Vittoria popularised the genre of the portrait bust in Venice during the second half of the sixteenth century, transforming it into the dominant mode of sculptured portraiture, and exerted a near monopoly on its production.
    The culture promulgated by artists, patrons and intellectuals in Renaissance Venice allowed Vittoria's gift as a portraitist to flourish.
    The demand for portraits busts coincides with the introduction of the classicizing busts in Venice, a genre in which Vittoria specialized. A "all'antica" portrait not only showed devotion to the classical past, it also marked another stage in Venice's quest during the sixteenth century to invest itself with antique auctoritas. Portrait busts such as this one were status symbols amongst the Venetian elite.
    Summary
    Portrait busts were displayed high in a room, above doors, fireplaces or windows. This gave family members, whether living or dead, a permanent presence in the home. The unnamed gentleman from the noble Navagero family is shown in the official robes and stole of a procurator, one of the most senior magistrates in Venice.
    Bibliographic references
    • Martin, Thomas Alessandro Vittoria and the portrait bust in Renaissance Venice Oxford, 1998. Cat no. 52, pp152-53
    • Pope-Hennessy, John. Catalogue of Italian Sculpture in the Victoria and Albert Museum. London: HMSO, 1964. cat. no. 570. fig. no. 560.
    • Burns, Howard, et al., Andrea Palladio 1508-1580: the Portico and the Farmyard, London: Arts Council of Great Britain, 1975.
    Collection
    Accession number
    A.10-1948

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    Record createdJune 28, 2002
    Record URL
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