Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER ONE
 

NEOCLASSICISM AND ROMANTICISM
 

NEOCLASSICISM
PAINTING
SCULPTURE and ARCHITECTURE- Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

THE ROMANTIC MOVEMENT
PAINTING
SCULPTURE and ARCHITECTURE - Part1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20

PHOTOGRAPHY
 

 


THE ROMANTIC MOVEMENT
 


Pietro Tenerani.
 

 


Pietro Tenerani

(b Torano, Massa e Carrara, 11 Nov 1789; d Rome, 14 Dec 1869).

Italian sculptor. From 1803 he trained under Lorenzo Bartolini at the Accademia di Belle Arti in Carrara, where he was also influenced by his uncle, Pietro Marchetti ( fl 1789–1850), the professor of sculpture, and by the French painter Jean-Baptiste Frédéric Desmarais (1756–1813). In 1813 he won a scholarship to study in Rome and moved there in 1814. He visited art exhibitions and museums, took lessons in painting the nude at the Académie de France and attended the studio of Gaspare Landi. As a fundamental test for all aspiring sculptors, he copied one of The Dioscuri, colossal Roman statues of Castor and Pollux located on Monte Cavallo (now Piazza del Quirinale), though he destroyed his copy. In 1816 he received significant recognition by winning the Premio dell’Anonimo, instituted by Canova, for his much-acclaimed Risen Redeemer (untraced). Towards the end of 1815 he came into contact with Bertel Thorvaldsen and worked with him in his studio in the Piazza Barberini.
 

 

 


Pietro Tenerani. Flora
1840



Pietro Tenerani.
Cupid Pulling a thorn out of the foot of Venus
St Peterburg, Hermitage




Pietro Tenerani.
Cupid Pulling a thorn out of the foot of Venus
St Peterburg, Hermitage




Pietro Tenerani.
Cupid Pulling a thorn out of the foot of Venus
St Peterburg, Hermitage




Pietro Tenerani.
Cupid Pulling a thorn out of the foot of Venus
St Peterburg, Hermitage




Pietro Tenerani.
Cupid Pulling a thorn out of the foot of Venus
St Peterburg, Hermitage


 



Pietro Tenerani. Portrait of countess S. Shuvalova
St Peterburg, Hermitage

 


Pietro Tenerani. Portrait of Grand Duchess Maria Nikolayevna

 



Pietro Tenerani. Psyche in a Faint

 



Pietro Tenerani. Sculptural Portrait of Prince Mikhail Vorontsov
1846




Pietro Tenerani. Marina Gurjeva





Pietro Tenerani. Portrait Bust of Tatyana Stroganova





Pietro Tenerani. Bust of a Girl
1837
 


Pietro Tenerani. Monument to Giulio Lante della Rovere
Santa Maria sopra Minerva, Rome, Italy



Pietro Tenerani. Monument to Mary Bold, Princess Sapieha
St Luke, Farnworth, Lancashire, England



Pietro Tenerani. Monument to Mary Bold, Princess Sapieha
St Luke, Farnworth, Lancashire, England



Pietro Tenerani. Monument to Maria Colonna Lante
Santa Maria Sopra Minerva, Rome, Italy



Pietro Tenerani. Tomb of Eugene de Beauharnais
Michaelskirche, Munich, Bavaria, Germany



Pietro Tenerani.
History, sketch model for the Tomb of Eugene de Beauharnais
Galleria Nazionale d'Arte Moderna, Rome, Italy



Pietro Tenerani. Tomb of Eugene de Beauharnais Tenerani
 



Pietro Tenerani. Monumento a Clelia Severini
1825, Basilica di San Lorenzo in Lucina, Rome


 


Pietro Tenerani. Tombeau du Pape Pie VIII
 Saint-Pierre de Rome

 
 

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