COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
TFC_.19612087
amicoid
TFC_.19612087
AMICA ID
false
AMICA Library Year:
1999
aly
1999
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Name:
Verrocchio, Andrea del
crn
Verrocchio, Andrea del
Creator Name
false
Creator Nationality:
European; Southern European; Italian
crc
European; Southern European; Italian
Creator Nationality
false
Creator Dates/Places:
1435-1488
cdt
1435-1488
Creator Dates/Places
false
Creator Name-CRT:
Andrea del Verrocchio
crt
Andrea del Verrocchio
Creator Name-CRT
false
Title:
Bust of a Young Woman
otn
Bust of a Young Woman
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1435-1488
oct
1435-1488
Creation Date
false
Creation Start Date:
1435
ocs
1435
Creation Start Date
false
Creation End Date:
1488
oce
1488
Creation End Date
false
Materials and Techniques:
marble
omd
marble
Materials and Techniques
false
Dimensions:
H. 18 7/8 in. (48 cm.)
met
H. 18 7/8 in. (48 cm.)
Dimensions
false
Dimensions:
W. 19 3/16 in. (48.7 cm.)
met
W. 19 3/16 in. (48.7 cm.)
Dimensions
false
Dimensions:
D. 9 3/8 in. (23.8 cm.)
met
D. 9 3/8 in. (23.8 cm.)
Dimensions
false
AMICA Contributor:
The Frick Collection
oon
The Frick Collection
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
61.2.87
ooa
61.2.87
ID Number
false
Credit Line:
Bequest of John D. Rockefeller, 1961
ooc
Bequest of John D. Rockefeller, 1961
Credit Line
false
Copyright:
Licensed for non-commercial, educational use.
ors
Licensed for non-commercial, educational use.
Copyright
false
Rights:
orl
<a href="http://www.frick.org"target="_new">http://www.frick.org</a>
Rights
false
Context:
Although it is neither signed nor documented, the marble bust is convincingly attributed to Verrocchio through comparison with other works known to be by him. Despite the coat of arms emblazoned on both her sleeves, the subject of the portrait has not been identified. Unlike any of the earlier female figures in the Collection, whether saint, angel, or gentlewoman, this young lady decidedly belongs to the world she inhabits. She is a person with claims to wealth and fashion. Her elaborate coiffure of twists and ringlets is bound up with ribbons and rosettes. The laced bodice and the floral-patterned tunic of brocade or cut-velvet, fastened with a foliate buckle, are all exquisitely detailed by the sculptor, who was noted for the precious clasps he made for copes. She herself has a physical presence, a body delicately but visibly shaped beneath the rich clothing, and she seems to respond to some external presence sharing her space. The slight tilt and twist of the head and her alert look suggest a mind actively engaged with its surroundings.This sense of a fleeting moment captured -- the animation, both physical and spiritual -- is characteristic of Verrocchio's best-known sculpture, such as his David and the Putto Clutching a Dolphin, or the dramatic narrative of Christ and St. Thomas for the Orsanmichele, Florence. More than any of his predecessors, Verrocchio could inspire his figures with an inner life, an achievement that his pupil Leonardo would explore with unmatched complexity and subtlety.
cxd
Although it is neither signed nor documented, the marble bust is convincingly attributed to Verrocchio through comparison with other works known to be by him. Despite the coat of arms emblazoned on both her sleeves, the subject of the portrait has not been identified. Unlike any of the earlier female figures in the Collection, whether saint, angel, or gentlewoman, this young lady decidedly belongs to the world she inhabits. She is a person with claims to wealth and fashion. Her elaborate coiffure of twists and ringlets is bound up with ribbons and rosettes. The laced bodice and the floral-patterned tunic of brocade or cut-velvet, fastened with a foliate buckle, are all exquisitely detailed by the sculptor, who was noted for the precious clasps he made for copes. She herself has a physical presence, a body delicately but visibly shaped beneath the rich clothing, and she seems to respond to some external presence sharing her space. The slight tilt and twist of the head and her alert look suggest a mind actively engaged with its surroundings.This sense of a fleeting moment captured -- the animation, both physical and spiritual -- is characteristic of Verrocchio's best-known sculpture, such as his David and the Putto Clutching a Dolphin, or the dramatic narrative of Christ and St. Thomas for the Orsanmichele, Florence. More than any of his predecessors, Verrocchio could inspire his figures with an inner life, an achievement that his pupil Leonardo would explore with unmatched complexity and subtlety.
Context
false
Related Document Description:
New York, The Frick Collection. A Guide to Works of Art on Exhibition [checklist]. 1997, n.p. New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comps. C. Ryskamp, et al., 1996, pp.128-129.
rdd
New York, The Frick Collection. A Guide to Works of Art on Exhibition [checklist]. 1997, n.p. New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comps. C. Ryskamp, et al., 1996, pp.128-129.
Related Document Description
false
Related Image Identifier Link:
TFC_.19612087.tif
ril
TFC_.19612087.tif
Related Image Identifier Link
false