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16-583: The bust is one of the few surviving examples of Futurist sculptures made by Boccioni in 1912 and 1913 and exhibited at the Galerie 23 in Paris in 1913. The original gesso, exhibited since 1938 in the Galleria nazionale d'arte moderna, was acquired in 1950 by the museum from Benedetta Marinetti. The sculpture represents the futurist decomposition of the face of the artist's beloved mother, also portrayed in

32-529: A Croatian and an Italian sculptor. Though born in the territory of the Republic of Venice , he spent his mature career at the other end of Italy, moving between Naples and Sicily , and Urbino , and finally in southern France, where he died. He was one of the more significant and complex sculptors of the 15th century – complex because of his activities within varying cultural circles and his exposure to differing influences. His best works evolved in

48-516: A common Roman practice; these portrait heads are not included in this article. Equally, sculpted heads stopping at the neck are sometimes mistakenly called busts. The portrait bust was a Hellenistic Greek invention (although the Egyptian bust presented below precedes Hellenic productions by five centuries), though very few original Greek examples survive, as opposed to many Roman copies of them. There are four Roman copies as busts of Pericles with

64-399: A format that allows the most distinctive characteristics of an individual to be depicted with much less work, and therefore expense, and occupying far less space than a full-length statue , the bust has been since ancient times a popular style of life-size portrait sculpture. A sculpture that only includes the head, perhaps with the neck, is more strictly called a "head", but this distinction

80-514: Is not always observed. Display often involves an integral or separate display stand . The Adiyogi Shiva statue located in India representative of Hindu God Shiva is the world's largest bust sculpture and is 112 feet (34 m) tall. Sculptural portrait heads from classical antiquity , stopping at the neck, are sometimes displayed as busts. However, these are often fragments from full-body statues, or were created to be inserted into an existing body,

96-543: The Baroque school the round-bottomed Roman style, including, or designed to be placed on, a socle (a short plinth or pedestal), became most common. Gian Lorenzo Bernini , based in Rome, did portrait busts of popes, cardinals, and foreign monarchs such as Louis XIV . His Bust of King Charles I of England (1638) is now lost; artist and subject never met, and Bernini worked from the triple portrait painted by Van Dyck , which

112-551: The 1913 painting Materia . Boccioni also executed a 1913 painting with the same title, Antigrazioso , but with a different setting. The sculpture has a similar style of Unique Forms of Continuity in Space . In 1950-1951, a bronze casting of the artwork was made. It was acquired and exhibited by the Metropolitan Museum of New York . Bust (sculpture) A bust is a sculpted or cast representation of

128-584: The Corinthian helmet , but the Greek original was a full-length bronze statue. They were very popular in Roman portraiture . The Roman tradition may have originated in the tradition of Roman patrician families keeping wax masks, perhaps death masks , of dead members, in the atrium of the family house. When another family member died, these were worn by people chosen for the appropriate build in procession at

144-583: The death of Alfonso (1458) he was called to Aix-en-Provence to the court of René d'Anjou , the former and still titular King of Naples, who commissioned him to do a series of bronze portrait medals of personages at the court. From 1466 to 1471 Laurana was in Sicily . Works of this period include the Mastrantonio Chapel and the tomb of Pietro Speciale in the church of S. Francesco in Palermo ,

160-626: The famous Bust of Charlemagne in gold, still in the Aachen Cathedral treasury, from c.  1350 . Otherwise it was a rare format. Busts began to be revived in a variety of materials, including painted terracotta or wood, and marble. Initially most were flat-bottomed, stopping slightly below the shoulders. Francesco Laurana , born in Dalmatia , but who worked in Italy and France, specialized in marble busts, mostly of women. Under

176-459: The funeral, in front of the propped-up body of the deceased, as an "astonished" Polybius reported, from his long stay in Rome beginning in 167 BC. Later these seem to have been replaced or supplemented by sculptures. Possession of such imagines maiorum ("portraits of the ancestors") was a requirement for belonging to the Equestrian order . Some reliquaries were formed as busts, notably

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192-824: The side door of the church of St. Marguerite in Sciacca , Madonna and Child sculptures in the cathedrals of Palermo (1471) and Noto , and a bust allegedly portraying Eleanor of Aragon , now in the Palazzo Abatellis in Palermo, Sicily. In 1471 he traveled to Naples where he executed the sculpture of the Virgin in the Sta. Barbara Chapel. From 1474 to 1477 Laura spent three years in Urbino , where his relative Luciano Laurana worked. He then went to Marseille, where he built

208-417: The upper part of the human body , depicting a person's head and neck , and a variable portion of the chest and shoulders . The piece is normally supported by a plinth . The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type. They may be of any medium used for sculpture, such as marble , bronze , terracotta , plaster , wax or wood. As

224-557: The workshop tradition in collaboration with other artists. His portrait busts reveal a creative individuality that was seen as particularly fascinating in the late 19th century. Though it is impossible to chart his stylistic development, his later work made in France shows some assimilation of northern realism , which is absent from the work executed in Italy. Laurana was born in Vrana , near Zadar , in Dalmatia . Under Venetian rule Vrana

240-462: Was named La Vrana , from romance de Vrana, giving the surname used by Francesco Laurana: LA VRANA -> LAVRANA which is read like LAURANA because the letter U is written as V in inscriptions in Latin. After an apprenticeship under a sculptor, he began his solo career at Naples , where he was one of the team of sculptors finishing the triumphal arch of Castel Nuovo for Alfonso V of Aragon . After

256-417: Was sent to Rome. Nearly 30 years later, his Bust of the young Louis XIV was hugely influential on French sculptors. Bernini's rival Alessandro Algardi was another leading sculptor in Rome. Francesco Laurana Francesco Laurana , also known as Francesco de la Vrana ( Croatian : Frane Vranjanin ; c. 1430 – before 12 March 1502) was a Dalmatian sculptor and medallist . He is considered both

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