. Bulletin - United States National Museum. Wissenschaft. Abb. 105.- Italien, 'ictor Emm. Anuel III, 100 Lire, igia 2^^" (.' 'Suthor Foto) die Bildhauer und Graveur, Egidio Boninsegna,^'', ausgebildet in Rom (wo Im Jahr 1896 gewann er den ersten Preis in der Akademie) hauptsächlich arbeitete für Johnson's medallic Einrichtung war. Neben vielen Skulpturen und Grabmäler, schuf er auch gute Portrait Medaillen, wie die, die von Papst Leo XIII. und der Numismatist S. Ambrosoli. Unter Boninsegna Zeitgenossen war einer der Begründer der neuen Bewegung - der Bildhauer, en-graver, und Maler Domeni

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. Bulletin - United States National Museum. Science. Fig. 105.—Italy, 'ictor Emm.anuel III, 100 lire, igia 2^^ (.'uthor's photo) Its sculptor and engraver, Egidio Boninsegna, ^'' who was educated in Rome (where in 1896 he won the first prize at the Academy) worked chiefly for Johnson's medallic establishment. In addition to many sculptures and funeral monuments, he also created good portrait medals, such as the ones of Pope Leo XIII and of the numismatist S. Ambrosoli. Among Boninsegna's contemporaries was one of the originators of the new movement—the sculptor, en- graver, and painter Domenico Trentacoste.-^' Born in 1859 in Palermo, he studied art in Italy and abroad. In 1880 he went to Paris, where he opened his own studio two years later. In 1891 London became his next residence, ijut in a few years he established his home finally in Florence. Trcntacoste participated successfull)- in 1894 at the International E.xhibit in 'ienna and in 1895 at the Biennak of Venice. In later years he filled the post of director at the Academy of Art in Florence. Practically blind during the last years of his life, he died in Florence in 1933. This sculptor was commissioned to design the models for the jubilee coinage of 1911, commemorating the 50th anniversary of the founding of the Italian King- dom.-'^ The two types, the bare head of the king facing left and the allegoric group of Italia and Roma, were adopted for the gold 50 lire and the silver 5 lire (fig. 106). Surprisingly, the two compositions do not reveal the sculptor: the reliefs of both obverse and reverse are flat and insignificant. While the head of the king is reminiscent of .Speranza's portrait of 1901 (fig. 102), the reverse allegory betrays a strong French influence in the style of Roty and Chaplain. The meaningless emphasis on an allegoric group, popular with medals of that period, renders this reverse weighty and inappropriate for coins. Undoubtedly the com- position, called "Italia Marinara, "

Stockbilder mithilfe von Tags suchen

• bookcentury1800
• bookdecade1870
• booksubjectscience
• buchautorun