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rococo veiled woman tradition, tomb sculpture & commemoration, religious piety & loss, spinazzi's signature style, faith, grief

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Descrizione del pezzo

The cloaked figure of “Religion” was made for the tomb of Varvàra Jakovlevna Tatisceva, wife of prince Aleksandr Michailoviĉ Belosel’skij, Russian ambassador to the court of Savoy from 1792 to 1793. Remembered by sources as a cultured man and a lover of the arts, particularly music, having commissioned works by Lorenzo Pécheux and others, the prince chose to commission the renowned Roman sculptor to produce the sculptural group in “white Carrara marble, depicting Religion and three cherubs” to decorate the tomb of his young wife in the urban cemetery in Turin, which no longer exists.The appearance of the entire monument, which was placed in an aedicula with an illusory landscape painted on the rear wall, is documented in an engraving by Luigi Valperga made immediately after the completion of the work: the “veiled figure” stood on a tall pedestal with an epigraph in verse on the front, flanked by three childlike figures supporting an oval bas relief with the effigy of the deceased. The epitaph referred to the duration of affections beyond the limits of earthly life and the expressive and sentimental value of the sculpted image: “O sentiment, sentiment! Douce vie de l’âme! Quel est le cœur / que tu n’as jamais touché quel est l’infortuné mortel / à qui tu n’as jamais donné le doux plaisir de répandre des larmes / et quelle peut-être l’âme impitoyable que l’aspect / de ce monument si simple et si pieux ne se recueille / avec mélancolie et ne pardonne généreusement / aux défauts du malheureux époux qui l’a élevé!”The statue of “Religion” is all that remains of the tomb, which was transported to the San Pietro in Vincoli cemetery in 1862 and then recovered in a state of advanced decay near the Mole Antonelliana, before becoming part of the GAM collection. To create this severe figure, inspired by Winckelmann’s concept of “noble simplicity” and not without a subtle mournful charm, Spinazzi referred to one of his most appreciated works, the statue of “Faith” made in 1781 for the church of Santa Maria Maddalena de’ Pazzi in Florence. The motif and pose of the prototype were repeated with minimal variations and the sculpting of the drapery is just as delicate, with thick folds that chastely conceal the beautiful feminine form.

Biografia dell'artista

Innocenzo Spinazzi: Florentine Rococo and the Legacy of Antiquity

Innocenzo Spinazzi (1726–1798) stands as a towering figure in Florentine Baroque sculpture, embodying the artistic fervor of Enlightenment Italy while simultaneously honoring the traditions of classical antiquity. Born into a family of silversmiths in Rome, Spinazzi’s formative years instilled within him an appreciation for meticulous craftsmanship and refined aesthetics—qualities that would define his entire oeuvre. His training under Giovanni Battista Maini provided him with foundational knowledge of sculptural technique and artistic theory, setting the stage for his remarkable ascent to prominence as Florence's foremost sculptor.

Early Career in Rome: Spinazzi’s initial success stemmed from his monumental statue of St Joseph Calasanctius (1755) commissioned for the nave of St Peter’s Basilica, a project that showcased his mastery of marble carving and demonstrated an understanding of Baroque grandeur. This commission solidified his reputation as a sculptor capable of tackling ambitious undertakings and conveying profound spiritual themes.

Recognizing the artistic dynamism of Florence under Leopold II, Spinazzi relocated to the city in 1769, swiftly securing the prestigious position of official court sculptor—a role that afforded him unparalleled access to influential patrons and fueled his creative output. He undertook monumental projects aimed at revitalizing the city’s cultural heritage. Notably, he spearheaded the restoration of antique sculptures within the Medici collections—a task that demanded meticulous scholarship and technical skill. His portrait bust of Leopold II (1771–74), housed in the Pitti Palace, exemplifies his ability to capture likeness with remarkable accuracy while conveying psychological depth. Furthermore, Spinazzi’s involvement in commemorating Flor Spinazzi's contribution to Florentine art extended far beyond mere decoration; he undertook monumental projects aimed at revitalizing the city’s cultural heritage. Notably, he spearheaded the restoration of antique sculptures within the Medici collections—a task that demanded meticulous scholarship and technical skill. His portrait bust of Leopold II (1771–74), housed in the Pitti Palace, exemplifies his ability to capture likeness with remarkable accuracy while conveying psychological depth. Furthermore, Spinazzi’s involvement in commemorating Flor Spinazzi is considered the leading sculptor in Enlightenment Florence. He often supplemented his marble works with bronze and other materials, in the tradition of Gian Lorenzo Bernini. Among other notable projects, Spinazzi contributed three monuments to Santa Croce of the celebrated citizens Giovanni Lami (died 1770), Angelo Tavanti (died 1782), and Niccolò Machiavelli (died 1787). He is remembered for his masterful marble sculptures, particularly those depicting veiled women – a stylistic choice that harkened back to classical ideals of beauty and serenity—and for his contribution to the grandeur of Florence’s civic monuments. Spinazzi was professor of sculpture at the Accademia di Belle Arti, Florence, from 1784 until his death. One of pupils was Francesco Carradori. His legacy continues to inspire artists today.

Innocenzo Spinazzi

1726 - 1798 , Italia

Informazioni rapide

Artistic Movement Or Style: Rococo
Artists Or Movements Influenced By This Artist: ['Antonio Corradini']
Artists Who Influenced This Artist:
- Giovanni Battista Maini
- Gian Lorenzo Bernini
Date Of Birth: Rome, Italy (1726)
Date Of Death: Florence, Italy (1798)
Full Name: Innocenzo Spinazzi
Nationality: Italian
Notable Artworks:
- Faith
- Religion
Place Of Birth: Rome

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