Amalia Ciardi Duprè (1934 – 25 November 2024) was an Italian sculptor and painter.
Ciardi Duprè is the great-great granddaughter of sculptor Giovanni Duprè (1817–1882) and grand-niece to her namesake, artist Amalia Duprè (1842–1928), whose statue of Santa Reparata is on the façade of Florence’s Duomo. Amalia studied at the Academy of Fine Arts in Florence and later had working experiences in Milan and Rome. For about ten years, she taught at the Florence Artistic High School and Art Institute at Porta Romana while she organized personal art exhibitions in Italy and abroad. The experience of the end of the Second World War that obliged her family to escape from their house, created in Amalia a desire to become a peacemaker. Thus, during the Sixties and the Seventies, she produced art works to denounce war, drugs and every form of oppression within the modern world. [1] Starting 1966, she collaborated with several architects including Bicocchi, Monsani, Fagnoni and Berardi creating decorative cycles of sculpture and liturgical furnishings. From 1970 to 1987, she worked in the small chapel of San Lorenzo in Vincigliata, Florence, [2] where she intended to display the "divine part of every human being" creating the work she called "the Bible for the poor". [3]
Duprè’s works are found in many churches, squares and gardens throughout the world. Among her pieces, there is one near Settignano; the apse of the Chiesa di Santa Maria a Vincigliata is almost entirely her own work. One the largest terracotta reliefs in the world, it depicts scenes from the Old and New Testament. Sculptures by Amalia Ciardi Dupré are hosted in the church of San Bernardino in Borgunto, Fiesole, where all the art on display was created by women. [4] Most of her works address maternity and female subjects. [5] As a resident of Tuscany, much of Amalia's art is influenced by the Etruscan civilization. [6] Many of her works are related to Christian religious themes and faith. [7] In November 2015, the Amalia Ciardi Dupre Foundation opened the CAD Museum that has become an exhibition space housing more than half a century's worth of Dupre's terracotta and bronze sculptures and paintings. [8]
Dupré died in Florence on 25 November 2024, at the age of 89. [9] [10]
Giovanni Pisano was an Italian sculptor, painter and architect, who worked in the cities of Pisa, Siena and Pistoia. He is best known for his sculpture which shows the influence of both the French Gothic and the Ancient Roman art. Henry Moore, referring to his statues for the facade of Siena Cathedral, called him "the first modern sculptor".
Dame Elisabeth Jean Frink was an English sculptor and printmaker. Her Times obituary noted the three essential themes in her work as "the nature of Man; the 'horseness' of horses; and the divine in human form".
Mary Seton Fraser Tytler was a symbolist craftswoman, designer and social reformer.
Niccolò dell’Arca was an Italian Early Renaissance sculptor, who worked mostly in terracotta. He is also known under the names Niccolò da Ragusa, Niccolò da Bari, Niccolò dall'Arca, and Niccolò d'Antonio d'Apulia. The surname “dell’Arca” refers to his contribution to the Arca di San Domenico.
Nancy Elizabeth Prophet was an American artist of African-American and Native American ancestry, known for her sculpture. She was the first African-American graduate from the Rhode Island School of Design in 1918 and later studied at L'Ecole des Beaux-Arts in Paris during the early 1920s. She became noted for her work in Paris in the 1920s and 1930s. In 1934, Prophet began teaching at Spelman College, expanding the curriculum to include modeling and history of art and architecture. Prophet died in 1960 at the age of 70.
Giovanni Dupré was an Italian sculptor, of distant French stock long settled in Tuscany, who developed a reputation second only to that of his contemporary Lorenzo Bartolini.
Dame Phyllida Barlow was a British visual artist. She studied at Chelsea College of Art (1960–1963) and the Slade School of Art (1963–1966). She joined the staff of the Slade in the late 1960s and taught there for more than forty years. She retired from academia in 2009 and in turn became an emerita professor of fine art. She had an important influence on younger generations of artists; at the Slade her students included Rachel Whiteread and Ángela de la Cruz. In 2017 she represented Great Britain at the Venice Biennale.
The Pitti Tondo is an unfinished marble relief of the Virgin and Child by Michelangelo in round or tondo form. It was executed between 1503 and 1504 while he was residing in Florence and is now in the Museo nazionale del Bargello in Florence.
Emy Roeder was a modern German sculptor born in Würzburg, Germany. During the first third of the twentieth century she was one of a number of women that were associated with the German Expressionist movement of Modern art. She was the first woman to achieve Master Student of sculpture as a student at the Berlin Academy In 1937 her work was labeled Degenerate art by the Nazis. After World War II she was arrested in Italy by the Allies because she was a German citizen and then sent to an internment camp. She received the Villa Romana prize in 1936, and was awarded the Federal Cross of Merit for her life work in 1960. She died, aged 81, in Mainz.
Félicie de Fauveau was a nineteenth-century French sculptor who was a precursor of the pre-Raphaelite style. She worked in a variety of techniques and mediums, including marble, stone, glass and bronze.
The Flood Ladies were a group of international female artists who contributed artworks to the city of Florence following the catastrophic 1966 flood of the Arno as a sign of solidarity and to help repair the psychological damage done by the flood. The group was formed in Florence, Italy in 1966. Contributors to the collection lived all over the world. In 2014 the organization Advancing Women Artist Foundation headed an effort to preserve, exhibit and acknowledge the contribution of these women.
The Pietro Bazzanti and Son Art Gallery is a historic art gallery located in Florence, Italy. Renowned for its craftsmanship of marble, bronze, alabaster, and stone sculptures and mosaics, the gallery specialises in reproductions of Classical, Neo-classical and Renaissance art, while also producing original works by contemporary artists. It has long catered to foreign customers seeking high-quality replicas of masterpieces admired during their travels.
Ellen Mary Rope (1855–1934) was a British sculptor whose career stretched from 1885 until the early 1930s. Her work is notable for its range of expression and style, from the classical to the popular. She worked chiefly in bas-reliefs, in stone, cast metal or plaster.
Self-Portrait as a Lute Player is one of many self-portrait paintings made by the Italian baroque artist Artemisia Gentileschi. It was created between 1615 and 1617 for the Medici family in Florence. Today, it hangs in the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, US. It shows the artist posing as a lute player looking directly at the audience. The painting has symbolism in the headscarf and outfit that portray Gentileschi in a costume that resembles a Romani woman. Self-Portrait as a Lute Player has been interpreted as Gentileschi portraying herself as a knowledgeable musician, a self portrayal as a prostitute, and as a fictive expression of one aspect of her identity.
Francesco Maria Niccolò Gabburri was a Florentine diplomat, painter, art collector, and biographer of artists.
Nena de Brennecke was an Argentine sculptor and mural painter known for her WPA commissions for post offices.
The Venus Italica is a marble sculpture commissioned by Napoléon Bonaparte and fashioned by Italian sculptor Antonio Canova. Canova finished the original work in 1802 and modelled two further variants which he completed in 1819. The work was to serve as a replacement for the Venus de Medici sculpture, a copy of an antique work by Cleomenes of Athens, which had been seized, taken to France and placed in the Louvre in 1802 by orders of Bonaparte. After Napoleon's abdication the Venus de Medici was returned to Italy on 27 December 1815 and is since on display in the Room of Venus in the Galleria Palatina at the Palazzo Pitti in Florence.
The Huldschinsky Madonna is a terracotta sculpture from the beginning of the 15th century, most probably from around 1410–1415. It is attributed to Donatello, an attribution based on the structure of the drapery, which is no longer simply a means of expression and decoration as in Gothic art but is instead more naturalistic and observed from life, following a strict dialogue with the anatomical forms beneath it and obeying the rules of gravity. The work's attention to detail such as the fringes on the clothing also recalls the artist's other works such as the marble David. The sculpture was formerly painted. It has been in the Bode Museum in Berlin since being donated by Oscar Huldschinsky in 1892 in Florence, who himself never owned it.
Eve Borsook was a Canadian-born American art historian, teacher and author, specialising in murals. Her other interests included the history of glass in relation to mosaics, 16th century Florentine ceremonial decoration, and Italian cloister art.
Giuseppe Graziosi was an Italian sculptor, painter and graphic designer.
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