十字架上的尸体 - 美国大都会艺术博物馆展品查阅

品名（中）	十字架上的尸体
品名（英）	Corpus from a crucifix
入馆年号	1944年，44.142.2
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者
创作年份	公元 1700 - 公元 1799
创作地区
分类	雕塑青铜（Sculpture-Bronze）
尺寸	corpus only, confirmed: 13 × 12 3/8 × 2 1/2 英寸 (33 × 31.4 × 6.4 厘米) crucifix: 29 15/16 × 17 英寸 (76 × 43.2 厘米)
介绍（中）	这件精美的紧身衣配有一条单独的银色围腰，整齐地系在身上。异常精细的铸件两侧都完成得很好，状态也很好（只需注意左腿骨折）。这尊雕像很轻（墙壁不到一毫米厚），没有追逐的痕迹，很可能是一体铸造的。这位艺术家对其美丽的头部及其个性化的头发给予了极大的关注。精确的执行表明，青铜是根据原型铸造的。语料库通常被认为是17世纪早期的意大利语，也被认为是1600年左右的德国产品。[1]然而，它看起来更像18世纪的铸件，甚至可能不是意大利语，而是法语。无可挑剔的造型、精致的头发处理、前额的形状和笔直的鼻子有力地暗示了后来的年代，左脚底刻着首字母"L.G."的优雅字体更是强化了这一点。[2] 尽管从逻辑上讲，这些首字母被认为是雕塑家或创始人的首字母，但还不可能将它们与特定的名字联系起来 -FL 脚注。见Olga Raggio，1966年，ESDA/OF，他将其与Hans Reichle的作品进行了比较，尤其是布达佩斯Szépmüvészeti Múzeum的青铜十字架。后者由巴洛格于1964年归于赖歇尔，但最近归于古列尔莫·德拉·波塔；见Szõcs 2013 2.Michael Riddick在他的网站上发布了我们的语料库，不太可能将其归因于Bastiano Torrigiani(https://renbronze.com/2020/03/16/a-possible-corpus-saint-and-siren-by-sebastiano-torrigiani/)。
介绍（英）	This exquisite corpus is fitted with a separate silver loincloth that attaches neatly to the body. The exceptionally fine cast is well finished on both sides and in very good condition (only a fracture on the left leg to be noted). The figure is very light (the walls are less than a millimeter thick), there are no traces of chasing, and it was probably cast in one piece. The artist lavished attention on the beautiful head and its individualized locks of hair. The precise execution suggests that the bronze was cast after a prototype. Usually identified as early seventeenth-century Italian, the corpus has also been considered a German product of about 1600.[1] However, it looks much more like an eighteenth-century cast, and may not even be Italian but French. The impeccable cast, sophisticated treatment of the hair, shape of the forehead, and straight nose strongly suggest the later chronology, reinforced by the elegant font of the initials “L.G.” incised on the sole of the left foot.[2] Though the initials are logically assumed to be those of the sculptor or founder, it has not yet been possible to link them to a specific name. -FL Footnotes (For key to shortened references see bibliography in Allen, Italian Renaissance and Baroque Bronzes in The Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2022.) 1. See Olga Raggio, 1966, ESDA/OF, who compares it to Hans Reichle’s work, in particular a bronze Crucifixion at the Szépművészeti Múzeum, Budapest. The latter was attributed to Reichle by Balogh 1964 but recently ascribed to Guglielmo della Porta; see Szőcs 2013. 2. Michael Riddick has published our corpus on his website with an unlikely attribution to Bastiano Torrigiani (https://renbronze.com/2020/03/16/a-possible-corpus-saint-and-siren-by-sebastiano-torrigiani/).