Review of Mochi's Edge and Bernini's Baroque, by Estelle Lingo. the Sculpture Journal 27
Reviews Estelle Lingo, Mochi’s Edge and Bernini’s Florentine, which leads her to investigate Baroque how sculpture was being considered Harvey Miller Studies in Baroque Art, London and in Florence during the second half of Turnhout, Harvey Miller Publishers, 2017, 328 pp., £100. ISBN 978-1-9094-00801 the sixteenth century. She notes, as others have, that its critical fortunes were in a state of decline, which she Between the late 1980s and the early 2010s, attributes to various constraints being the annual list of PhD dissertations in put on sculptors, both political and progress in the United States included one religious, that were preventing them being written at Columbia University on from practising their art like Michel- the sculptor Francesco Mochi, born in the angelo – that is to say, with the freedom Tuscan town of Montevarchi in 1580 and to embrace the idea of monumental who was one of the outstanding talents sculpture, to revel in the heroics of of the seventeenth century. Belief that it sculpture-making and to celebrate the was well advanced kept many graduate nude body. Lingo is undoubtedly correct students – including this reviewer – that Mochi’s sculptures demonstrate from tackling the subject for their own fiorentinità in their consistently large dissertation. We can now be thankful that scale, technical daring and ways of this particular study went uncompleted revealing the human form. and that it had the discouraging effect it The title of Chapter 2, ‘Draping did, since it preserved Mochi as a wide Michelangelo’, prepares the reader for open field of enquiry for Estelle Lingo, Lingo’s interpretation of how Mochi whose new book on the artist is possibly managed to pay respect to Michelan- the most important contribution to gelo’s exaltation of the nude in an age the study of Roman Baroque sculpture of extreme religious modesty, where produced this century.
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