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The other Zanobi musician, reproduced in the catalogue but not in the exhibition, is a putto playing a horn, painted in the border decoration around the Annunciation, in Hiblioteca Riccardiana, MS 457 (f.
With their childish follies, these putti have a broader history (see Charles Dempsey, Inventing the Renaissance Putto, 2001), and more readily provide an ironic foil to scenes of education, love, sacrifice, and death, not to mention the deluded fancies of the male hero.
Could this money not be putto better use alleviating world misery?
In Rinaldo and Armida (a subject from Tasso's epic on the liberation of Jerusalem), a putto in the guise of Cupid tugs back the arm of the Saracen enchantress as she prepares to stab the sleeping Crusader Rinaldo with a dagger.
1550), in black chalk on blue paper, by the 16th-century Lombard painter Bernardino Lanino; first-time exhibitors Galerie Tarantino show a delicate Sleeping Putto (1715-20) by the great Emilian draughtsman Donato Creti, depicting a boy who, having nodded off at his studies, has slumped into what feels more like a grown-up pose.
In the fourth and fifth chapters, adults in disguise are the main concern, and, except for some passing remarks about Cupid, the putto fades from view.
The liveliness and wit of the rococo wood figure is illustrated by many of the exhibits: a chubby putto playfully trying on a cardinal's hat accompanying Gunther's figure of St Peter Damian for example (Fig.
The shield held by the putto in the upper left corner of the left interior wing, which normall y would have carried the coat of arms of the sitter, remains blank.
In his drawing for the Book of Hours of the Emperor Maximilian (1515) the horses bite and nip each other while a putto with a burning brand clutches the mane of one of the rearing animals.
Cats are invariably predators, whether it's the hulking tabby advancing along a balcony railing on a nest of doves in Tom Cat (1926) or the stalking cat-woman representing Alma Mahler in Still Life with Putto and Rabbit (1913-14).
the influence of Callistratus's ekphrasis about Praxiteles's Eros on the Putto with a Dolphin, Palazzo Vecchio, Florence).
Presiding over all is a bravura white porcelain 'gallery' figure, an 86cm-high Farnese Hercules made under the direction of the factory's first chief modeller, Gaspero Bruschi; another outstanding piece is a 82cm-high putto, after a model by Filippo della Valle (Fig.