Tullio Lombardo (Italian, ca. 1455–1532). Adam, ca. 1490–95. Italian, Venice. Marble. The Metropolitan Museum of Art, New York, Fletcher Fund, 1936 (36.163)
The life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God's perfect human being, but also the anxious victim of the serpent's wiles.
In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible.
The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso.
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Tullio Lombardo's Adam A Masterpiece RestoredThe Metropolitan Museum of Art Main address:
The Metropolitan Museum of ArtWells Fargo Center1000 Fifth Avenue10028-0198New York, United statesThe Metropolitan Museum of ArtWells Fargo Center1000 Fifth Avenue10028-0198New York, United statesThe life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God's perfect human being, but also the anxious victim of the serpent's wiles.
In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible.
The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso and Romano I. Peluso. Book tickets
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