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- L. Planiscig, Venezianische bildhauer der renaissance, Vienna, 1921, pp. 597-628
This charming bronze is both ornamental and functional, the shell held by the putto could have been used as an inkwell and his quiver to keep quills.
The plump body and curly hair forming thick locks are typical of the artist, as well as the facial features, with heavy eyelids, small heart-shaped mouth and rounded chin, details that can all stand out thanks to the high quality of the present cast.
Born in Genoa, Roccatagliata was active in Venice where he produced a number of small bronzes that are representative of the humanistic culture of the period. He is known to have made models for Tintoretto to organise his compositions and he executed several works in bronze for the Church of San Giorgio Maggiore in the 1590s. Variations on allegorical personifications of the arts are a recurring feature of Roccatagliata’s oeuvre as demonstrated, for example, by female figures representing Poetry, Astronomy and Music in the Robert H. Smith Collection or cherubs playing the flute and drum in the Kunsthistorisches Museum, Vienna. The Viennese scholar Leo Planiscig called him the “master of the putto”.
|Height||19.00 cm||(7.48 inches)|