Gipsoteca Bartolini


Giambologna, Rape of the Sabines, raw earth modelSoft, sinuous and of great visual impact, the Rape of the Sabines model by the artist universally known as Giambologna, welcomes visitors of the Galleria dell'Accademia since their entrance to the museum, dominating the Hall of the Colossus.
It is one of the rare sixteenth-century raw earth models in 1:1 scale for the marble version sculpted by the artist in 1582 and located in Piazza della Signoria, under the Loggia dei Lanzi.




Gipsoteca (Plaster casts gallery)The Gipsoteca has found its permanent location in the hall that already was the women's ward of the old San Matteo hospital, then incorporated in the Academy of Fine Arts. The works on display belong to Lorenzo Bartolini, one of the most important Italian sculptors between the Eighteenth and Nineteenth centuries, acquired by the Italian state after the artist's death. Amongst them there are also plasters of Bartolini’s pupil Luigi Pampaloni, renowned artist of the florentine Academy of Fine Arts.
Almost all the plaster casts are original models, shaped personally by the author.
The exhibition is completed with some paintings of nineteenth century masters who have studied or taught at the Academy.

The David and The PrisonersThe worldwide fame enjoyed by the Galleria dell'Accademia and the constant number of visitors are due to the incomparable core of Michelangelo's sculptures gathered here at different times, to form a sort of mausoleum dedicated to the enduring myth of the great painter, sculptor and architect, consecrated in Giorgio Vasari’s "Vite" and fed until modern times by generations of art historians and writers. In fact, the Gallery of the Prisoners hosts the four "Prisoners" designed for the tomb of Pope Julius II, an endless work that turned out to be a real tragedy for the artist. The other sculpture depicting the evangelist Matthew came to the Galleria from the Opera del Duomo in 1834, while the Pietà di Palestrina concludes the series of sculptures: a solemn path that leads to the true apotheosis of the Tribune, dominated by the Michelangelo’s David, the most famous sculpture in the world.

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