Andrea Brustolon - attribuiti

Andrea Brustolon. Venice or Belluno circa 1700. Rare and decorative pair of torch holders / putti, finely carved and leaf-gilded, attributable to him. Carved with great skill, in original condition and without restoration work. Patina, slight imperfections, and signs of use consistent with the period. Electrified in the early 1900s. Restoration can be commissioned if desired, although the current state with a desirable original patina makes them fascinating in their current condition. Dimensions: cm 58 high and cm 25 wide for the first - the second cm 45 long, cm 27 wide. It is evident that these two putti are sculpted with great skill. The gentleness of the faces, the plasticity of the bodies, the vibrant modeling, the dynamism and the proportions of the sculptures, as well as recalling the poetics of Bernini, highlight the likely hand of the master, with his personal and original interpretation. Provenance: private high-bourgeois collection, Udine. Andrea Brustolon was born in Belluno in 1662. His father is Jacopo, a carver and sculptor, and is his first teacher; he later moved to the school of the painter Agostino Ridolfi. Belluno does not allow the young Andrea to receive high-level sculptural artistic notions; he then goes to Venice to his Belluno friend Antonio Buzzati, who entrusts him to the workshop of the sculptor Filippo Parodi. In 1679 Brustolon moved to Rome where he was fascinated by the figure of the great Gian Lorenzo Bernini. In Rome he left the famous Sala del Brustolon at the Palazzo del Quirinale. In 1682 he returned to Venice where he remained for some years dedicating himself to the production of wooden furniture: numerous were his noble clients, for example the Correr and the Pisani; but his great patrons were in particular the Venier, for whom he created vase holders, armchairs and various furnishing objects now preserved at the Museum of the 18th Century Venetian Cà Rezzonico. In 1695 he definitively settled in Belluno where he began his great and exceptional production of altarpieces, statues, tabernacles and wooden works of all kinds. Brustolon is certainly an artist who fits, with all his skill, into the reality of the time in which he works and can be considered among the most representative figures of Italian Baroque sculpture. He was nicknamed the "Michelangelo of Wood". Literature "Andrea Brustolon 1662 - 1732, the Michelangelo of wood" Skira editore; "Andrea Brustolon, restored works - Wooden sculpture in the Baroque era", Spiazzi - Mazza. At the bottom of the page: Other works by Brustolon, certainly by his hand, compared with ours (attribution studies): A) Detail of a candelabrum by Andrea Brustolon, San Trovaso, Venice. circa 1700 B) Andrea Brustolon, representation of putti and sculpted sea dragons (detail, France, private collection) C) Putto attributed to Andrea Brustolon owned by the Archdiocese of Padua (see link at the bottom of the page). There is a great affinity with our works, although the quality of the one of the arcidiocesis (on the left) appears slightly inferior in the representation of the details (workshop?) - see link at the bottom of the page to see it D) Comparison with detail of sculpture by Andrea Brustolon, Diocesan Museum of Feltre (Belluno) In compliance with the provisions of the New Code of Cultural Heritage, the selling company provides, simultaneously with the sale, a detailed written photographic guarantee of originality and provenance of the works sold. The data with which the works are described and then contained in the written guarantees are expressed determinations resulting from accurate and documented technical/historical/artistic investigations, even of expert importance.