The Rape of the Sabine Woman
Panel
1610-1650 (fired)
1610-1650 (fired)
Artist/Maker | |
Place of origin |
This may be a preparatory sketch for a bronze panel on the pedestal of Giambologna’s Rape of the Sabines. The group was unveiled in 1583 but the model was not fired until much later. When setting out the composition, the artist worked deftly with his fingers and fine tools, adding clay in small pieces to form the figures.
Object details
Categories | |
Object type | |
Title | The Rape of the Sabine Woman (generic title) |
Materials and techniques | Terracotta, made from modelled clay |
Brief description | 'The Rape of the Sabine Women', relief in terracotta, possibly by Giambologna, Florence, 1610-55 |
Physical description | The Rape of the Sabine Woman, relief in stucco. The relief, which is fragmentary and is made up to a rectangle with plaster at the top, bottom and left side, shows in the background a soldier on a rearing horse and on the left a standing soldier clasping a woman in his arms. The right foreleg of the horse and the front of the foot of the female figure have been broken off. |
Dimensions |
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Credit line | Given by Mr Henry Farrar |
Object history | Given by Mr. Henry Farrar, as Polidoro da Caravaggio. Previously in the sale of the effects of Sir Thomas Lawrence (London, Christie, 19 June, 1830, No. 361, bt. Triphook, £4) along with three other clay models (Nos. 359, 360, 362) as Polidoro da Caravaggio. The relief is regarded by Robinson (p. 165) as "an original sketch", and is ascribed by him to Giovanni Bologna. The ascription to Giovanni Bologna is retained by Maclagan and Longburst (p. 147), but there are not sufficient grounds for ascribing it directly to this sculptor. It is noted without comment by Dhanens (Jean Boulogne: Giovanni Bologna Fiammingo, Brussels, 1956, p. 240). |
Subjects depicted | |
Summary | This may be a preparatory sketch for a bronze panel on the pedestal of Giambologna’s Rape of the Sabines. The group was unveiled in 1583 but the model was not fired until much later. When setting out the composition, the artist worked deftly with his fingers and fine tools, adding clay in small pieces to form the figures. |
Bibliographic references |
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Collection | |
Accession number | 1619-1855 |
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Record created | February 11, 2004 |
Record URL |
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