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They Did Put Him Back Together Again – Tullio Lombardo’s Adam – A Masterpiece Restored

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ADAM HAD A GREAT FALL

From the New York Times, “Recreating Adam From Hundreds of Pieces After the Fall,”

“The life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God’s perfect human being, but also the anxious victim of the serpent’s wiles.

In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible.

The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso.”

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FROM THE MET WEBSITE

“The life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God’s perfect human being, but also the anxious victim of the serpent’s wiles.

In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible.

The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso.”

 

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