Bust of a member of the Navagero family
Bust
ca. 1590-1600 (made)
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 | |
Title | Bust 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 |
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Marks and inscriptions |
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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 |
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Collection | |
Accession number | A.10-1948 |
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Record created | June 28, 2002 |
Record URL |
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