Michelangelo : sculptor in bronze : the Rothschild bronzes
- Submitting institution
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University of Cambridge
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 8886
- Type
- B - Edited book
- DOI
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- Publisher
- The Fitzwilliam Museum
- ISBN
- 9781781300633
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Avery's primary research contribution in this output consists of her three consecutive chapters in the volume, that establish a clearly delineated context for the making of bronze sculpture by Michelangelo.
Beyond her editorial role, Avery's primary research contribution and output takes the form of her three consecutive chapters in the volume, that establish a clearly delineated context for the making of bronze sculpture by Michelangelo. The chapters open the volume and are arranged in a chronological sequence: 1. 'Brazen Defiance: Young Michelangelo, bronze and the David for France’; 2. 'Commission Impossible: Michelangelo’s bronze Julius II for Bologna', and 3. 'Mature Michelangelo and the mastery of metal’. Though the attribution of the Rothschild bronzes has not been generally accepted, the importance of Avery's contribution lies in her provision of the first comprehensive account of Michelangelo’s work as a sculptor in bronze.
Where previous scholars have assumed that Michelangelo’s engagement was patchy and reluctant, and though public knowledge is limited owing to the loss of documented works, Avery’s key research questions were directed at assessing the significance of bronze throughout Michelangelo’s career. Her in-depth archival research traced a complete and sustained history, revealing that Michelangelo was actively involved in all stages of making bronzes – from making designs and models to casting and finishing them. Thus Avery's chapters form an overarching narrative that demonstrates a hitherto obscured but critical side to Michelangelo’s creative practice that endured throughout his career. The methodological framework pioneered during this project is now influencing the approach taken when investigating other bronzes, for example in the Bernini Bronzes Project.
- Author contribution statement
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- Non-English
- No
- English abstract
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