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Ugolino and His Sons by Carpeaux in the Metropolitan Museum of Art, Feb. 2007


Title: Ugolino and His Sons
Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie)
Date: 1865–67
Culture: French, Paris
Medium: Saint-Béat marble
Dimensions: Overall (confirmed): 77 3/4 × 59 × 43 1/2 in., 4955 lb. (197.5 × 149.9 × 110.5 cm, 2247.6 kg);
Pedestal (wt. confirmed): 3759 lb. (1705.1 kg)
Classification: Sculpture
Credit Line: Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift, Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967
Object Number: 67.250
The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.
Text from: www.metmuseum.org/art/collection/search/204812
Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie)
Date: 1865–67
Culture: French, Paris
Medium: Saint-Béat marble
Dimensions: Overall (confirmed): 77 3/4 × 59 × 43 1/2 in., 4955 lb. (197.5 × 149.9 × 110.5 cm, 2247.6 kg);
Pedestal (wt. confirmed): 3759 lb. (1705.1 kg)
Classification: Sculpture
Credit Line: Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift, Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967
Object Number: 67.250
The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.
Text from: www.metmuseum.org/art/collection/search/204812
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