Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640 - photo 1
Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640 - photo 2
Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640 - photo 3
Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640 - photo 4

Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640

Lot 132
22.09.2021 14:00UTC +01:00
Classic
Sold
€ 14 300
AuctioneerKunstauktionshaus Neumeister
Event locationGermany, München
Buyer Premium30%
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ID 610326
Lot 132 | Kniender (Ungläubiger Thomas) , Francesco Mochi (1580 Montevarchi - 1654 Rom), Rom, um 1640
Estimate value
€ 15 000 – 18 000
Kniender junger Mann. Die Linke ausgestreckt, die Rechte vor die Brust gelegt. Der Kopf mit geöffnetem Mund als Ausdruck von Staunen oder Ehrfurcht. In abknickenden Falten bewegt um den Körper drapierte Tunika. Bronze, vergoldet. Auf Holzsockel montiert. H. 14 cm. ''Cire perdu''-Guss in originalem Erhaltungszustand mit äußerst sorgfältiger Oberflächenbearbeitung. Haltung und Ausdruck des Knienden legen eine Interpretation als Apostel Thomas nahe, der die Auferstehung Jesu bezweifelt, bis er dessen Seitenwunde berührt (Joh 20, 19-29): ''The onmi-directional rendering of the figure, i.e. the validity of its composition from all view-points, and the fact that it maintains an exquisite balance despite the powerful spiralling movement of the garments and the frontal direction of gaze and gesture, compel us to acknowledge this bronze as a self-contained and complete conception. However, contrary to this impression, this bronze was most likely once part of a two-figure group, and as such associated with a statuette representing the resurrected Christ. The dramatic attitude of the young man should in that case be interpreted as that of the Apostle Thomas in the act of touching the wound at the side of Christ'' (Auersperg S. 1). Auch unter Berufung auf Jennifer Montagu (ebenda, S. 2) sieht Auersperg die Statuette als eigenhändiges Werk Francesco Mochis, dem neben Gian-Lorenzo Bernini bedeutendsten Bildhauer des römischen Barock, dessen Originalität erst seit wenigen Jahrzehnten von der Forschung gewürdigt wird. Als Kleinplastik war der Ungläubige Thomas vermutlich für die private Andacht eines hochstehenden Geistlichen bestimmt, etwa Kardinal Girolamo Farnese, einem Cousin der Frau Mochis. Provenienz: Privatsammlung, London. Literatur: Auersperg, Johannes, A Wonder-Struck Young Man. 'The Doubting Thomas', in: AusstellungKatalog European Sculpture. Daniel Katz Ltd. New York 06.05.1996-17.06.1996, S. 1-10.
Auction house category:Sculptures
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