Papirformat

Guide til elevkunst

Slave

Navn Klasse Dato

Pietro Tacca, Slave (1615), Piazza della Darsena. Offentlig ejendom. Se dette lærred under bevægeligt lys: tegningen, den sande farve under lakken, det rå pigment

Fakta om værket

Kunstner
Pietro Tacca artsdot.com/da/artists/pietro-tacca/
Kunstnerens levetid
1577 – 1640
Malet
1615
Afholdt hos
Piazza della Darsena artsdot.com/da/museums/piazza-della-darsena-livorno/

I kontekst

Slave — Pietro Tacca

Hvornår er dette malet?

  1. 1570
  2. 1580
  3. 1590
  4. 1600
  5. 1610
  6. 1620
  7. 1630
  8. 1640

Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 63 ved død.

Malet da kunstneren var 38 år gammel. Kunstneren blev 63 år gammel. 3 af de 10 daterede værker af denne kunstner i vores katalog er skabt tidligere.

Skyggelagt: Pietro Tacca' livstid (1577–1640) ▲ dette værk, 1615 hvert dateret maleri, årti for årti

Første værker: frem til 1608 Primære arbejdsår: 1608–1629 Senere værker: fra 1629

Disse tre intervaller opdeler de værker i denne katalog, der er dateret, i et første kvartal, en midterste halvdel og et sidste kvartal. De udgør ikke kunstnerens samlede produktion: en tynd periode kan være et hul i dokumentationen snarere end en stille periode. De samme år med kunstnerens liv lagt ind i dem

Sammenlignelige værker

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Flere værker, der kan placeres ved siden af dette: artsdot.com/da/art/similar/pietro-tacca-slave-8Y2AGR-en/

Farver

Målt ud fra billedet

    Hovedfarve

    Espresso #4a4a4a

    Gemt palet

    • #4A4A4A
    • #AFAFAF
    • #7F7F7F
    • #D6D6D6

    Disse farver i kunstnerens samlede palet Find andre malerier efter farve

    Farvepalette
    Neutrals Den dominerende farvefamilie i billedet.
    Primær farve
    Espresso
    Intensitet
    Monochromatic Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Statement Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Unified Palette Hvor godt farverne spiller sammen, fra modstridende til fuldstændig harmoniske.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Muted Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Hvor i verden bliver dette maleri set?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og derover
    Dette maleri alene har for få registrerede besøgende til at kunne kortlægges, så pladen viser alle værker af Pietro Tacca i løbet af de sidste tolv måneder — 1 lande i alt. Hvor disse tal stammer fra

    De ti førende lande

    1. 1 Kina 100,0%

    Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.

    De 2 mest viste værker af Pietro Tacca

    1. 1 Fountain, 1629 100,0%
    2. — Slave, 1615 dette maleri 0,0%

    Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 10 værker af denne kunstner, hvoraf 1 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned

    Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.

    Kunstner og museum

    Kunstner

    Pietro Tacca

    Født i Carrara, Italy

    The Sculptural Legacy of Pietro Tacca

    In the heart of Tuscany, where the white marble of Carrara meets the golden light of Florence, the life of Pietro Tacca unfolded as a bridge between two monumental eras of art history. Born in 1577, Tacca emerged from a lineage of craftsmen to become a defining voice in the transition from the elegant, often artificial complexities of Mannerism to the visceral, dramatic energy of the Baroque. His journey was not merely one of personal ambition but a profound evolution of form, where the controlled grace of his predecessors gave way to a new, breathing realism that captured the very essence of movement and emotion.

    The foundation of Tacca’s genius was laid within the legendary workshop of Giambologna. Entering the atelier in 1592, the young sculptor became more than just an apprentice; he became a custodian of a sophisticated aesthetic language. Under Giambologna’s watchful eye, Tacca mastered the intricate art of bronze casting and the delicate balance of asymmetrical compositions. While his early works retained the stylized elegance and elongated proportions characteristic of Mannerist tradition, there was an emerging hunger in his work for something more tangible, more human, and infinitely more dynamic.

    The Medici Court and the Bronze Masterpieces

    Following the passing of his mentor in 1608, Tacca ascended to the prestigious position of court sculptor for the Medici Grand Dukes. This appointment was a transformative milestone, granting him the resources and the monumental scale required to execute works of immense historical significance. As the favored artist of the Florentine elite, he navigated the demands of powerful patrons with a skill that blended political prestige with artistic innovation. His ability to translate the grandeur of the Medici dynasty into permanent, bronze reality helped define the visual identity of Florence during this golden age.

    One of his most enduring contributions to the city's landscape is perhaps found in his mastery of smaller-scale bronze works that possessed a life of their own. The famous Porcellino, a bronze boar that has become a beloved icon of Florentine folklore, exemplifies his ability to infuse even a single subject with charm and vitality. Beyond these charming figures, Tacca’s work on equestrian statues—such as the tribute to Ferdinand I de' Medici—demonstrated his capacity for monumental storytelling, capturing the power and authority of the ruling class through sweeping gestures and muscular tension.

    A Synthesis of Drama and Realism

    As Tacca’s career progressed, the influence of the Baroque style became increasingly undeniable. He moved away from the intellectualized puzzles of Mannerist sculpture toward a more direct engagement with the viewer's emotions. His later works, such as the poignant Tarquinius and Lucretia, showcase a profound command over narrative tension and psychological depth. In these pieces, the metal seems to lose its rigidity, adopting the softness of skin and the heavy drape of fabric, creating a sense of theatricality that was revolutionary for his time.

    The historical significance of Pietro Tacca lies in this very synthesis of styles. He did not simply abandon the lessons of Giambologna; rather, he expanded them to accommodate a world that was beginning to crave realism and emotional resonance. His legacy is etched into the bronze and marble of Italy, representing a moment in time when art moved from the cerebral to the visceral, ensuring that the sculptural traditions of Florence would continue to pulse with life long after his death in 1640.

    Museum

    Piazza della Darsena

    Udstillet på Livorno, Italy

    A Portal into Tuscany’s Multifaceted Past

    Nestled within the historic heart of Livorno,

    Piazza della Darsena

    offers far more than a mere collection of artifacts; it serves as a profound gateway into the layered soul of Tuscany. Housed within the beautifully restored

    Bottini dell'Olio

    —magnificent structures that once served as oil storage warehouses in the 17th century—this space presents an extraordinary juxtaposition of architectural grandeur and artistic treasure. To walk through its doors is to step into a space where the industrial maritime legacy of Livorno meets the refined elegance of Renaissance humanism. The very bones of the building, characterized by their Baroque ambition and Enlightenment-era scale, provide a dramatic, atmospheric backdrop that elevates every piece on display, making it an essential destination for those who seek art that is deeply rooted in its physical environment.

    The experience within these walls is a sensory journey that extends well beyond the galleries. For the interior designer or the wandering traveler, the museum offers a contemplative atmosphere that can be best complemented by a stroll along the Lungarno Vespucci, where the panoramic vistas of the Tyrr'hrenean Sea provide a breathtaking context to Livorno’s maritime heritage. Through prestigious collaborations with institutions such as the Palazzo Pitti, Piazza della Darsena continues to foster a global dialogue, ensuring that its collection remains a living, breathing entity where history is not merely studied but felt.

    A Masterful Tapestry of Time and Civilization

    The collection at Piazza della Darsena is a masterful tapestry woven from disparate threads of time and civilization. Visitors are invited to descend into the deep history of the region through remarkable archaeological finds, where remnants of Etruscan, Roman, and Medieval life emerge from beneath the vibrant modern cityscape. This ancient foundation provides a poignant contrast to the later splendor of the Renaissance era. Here, one can lose themselves in a curated selection of paintings and sculptures crafted by masters who once graced the courts of Florence and Siena. The delicate brushstrokes and masterful compositions found within these walls embody the humanist ideals of a golden age, offering collectors and art enthusiasts a rare opportunity to contemplate the evolution of Tuscan aesthetic values through a singular, cohesive narrative.

    Beyond the classical beauty of its canvases, Piazza della Darsena captures the spirited, often eccentric, pulse of Italian history. The museum holds significant relics of the 19th-century struggle for unification, most notably the iconic poncho of

    Giuseppe Garibaldi

    . This garment stands as a silent, powerful symbol of courage and national identity, anchoring the collection in the political drama that shaped modern Italy. Yet, the institution also embraces the playful side of the artistic spirit; it famously recounts the delightful anecdote of the celebrated sculptor

    Amedeo Modigliani

    , who once orchestrated a mischievous prank involving a marble head. This blend of high-stakes history and lighthearted artistic wit is precisely what makes the museum unique, offering an interdisciplinary experience that transcends traditional boundaries.

    Her kan du læse mere

    Findes online

    QR-kode med link til downloadside for Slave

    artsdot.com/da/art/download/pietro-tacca-slave-8Y2AGR-en/

    Kildehenvisning til dette kunstværk

    MLA
    Tacca, Pietro. Slave. 1615, Piazza della Darsena. https://artsdot.com/da/art/pietro-tacca-slave-8Y2AGR-en/
    APA
    Tacca, Pietro (1615). Slave [Painting]. Piazza della Darsena. https://artsdot.com/da/art/pietro-tacca-slave-8Y2AGR-en/
    Chicago
    Pietro Tacca. Slave. 1615. Piazza della Darsena. https://artsdot.com/da/art/pietro-tacca-slave-8Y2AGR-en/
    Harvard
    Tacca, Pietro (1615) Slave. Piazza della Darsena. Available at: https://artsdot.com/da/art/pietro-tacca-slave-8Y2AGR-en/

    Se nærmere efter

    Slave — Pietro Tacca

    Se nærmere efter

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Hvor mange ansigter kan du finde? ____ (vores katalog tæller 1 — er du enig?)
    4. Se tilbage på Tarquinius and Lucretia (1600) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    5. Pietro Tacca var omkring 38 år gammel, da dette blev skabt. Hvad i værket bærer præg af at være skabt af en kunstner på det stadie?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.

    Spørgsmål & svar

    Findes der værker, der ligner "Slave"?

    Siden Lignende værker for "Slave" af Pietro Tacca præsenterer relaterede kunstværker.

    Hvilket museum udstiller det originale "Slave"?

    Du kan se det originale værk "Slave" på Piazza della Darsena, Livorno, Italy.

    Kan jeg se en forhåndsvisning af "Slave" af Pietro Tacca, før jeg bestiller?

    En forhåndsvisning af "Slave" af Pietro Tacca er tilgængelig på værkets Forhåndsvisning-side.