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Source Description

Wrestling matches between scantily clad women as well as men were a form of court entertainment in 17th-century Italy. Casts of "Two Women Wrestling" were sometimes paired with "Two Men Wrestling." The subject of women wrestling is not ancient, and a life-size statue would shock, but the naturalism, drama, and veiled eroticism are suited to the small scale appropriate to a collector's study. It exemplifies the impact of the tastes of the collector on the expanded subject matter of the Baroque. The natural tension of the conflict leads the eye around the wrestlers.Chief sculptor to the grand duke of Tuscany, Tacca maintained the Florentine workshop that had been Giovanni Bologna's (see Allegory of Architecture 54.689), adapting the svelte, complex, elongated figures of the latter and his father Pietro Tacca (1577-1640) to the demands of greater drama in the mid to later 1600s. No small bronzes are documented as having been created by him, but several are attributed to him by comparison with larger, signed pieces.

Scholar Source Context

Document identity
localId
11380
label
Two Women Wrestling
core
obj
dtoType
object
pageCount
1
Source metadata
id
11380
contentType
object
stage
normalized
title
Two Women Wrestling
description
Wrestling matches between scantily clad women as well as men were a form of court entertainment in 17th-century Italy. Casts of "Two Women Wrestling" were sometimes paired with "Two Men Wrestling." The subject of women wrestling is not ancient, and a life-size statue would shock, but the naturalism, drama, and veiled eroticism are suited to the small scale appropriate to a collector's study. It exemplifies the impact of the tastes of the collector on the expanded subject matter of the Baroque. The natural tension of the conflict leads the eye around the wrestlers.Chief sculptor to the grand duke of Tuscany, Tacca maintained the Florentine workshop that had been Giovanni Bologna's (see Allegory of Architecture 54.689), adapting the svelte, complex, elongated figures of the latter and his father Pietro Tacca (1577-1640) to the demands of greater drama in the mid to later 1600s. No small bronzes are documented as having been created by him, but several are attributed to him by comparison with larger, signed pieces.
provenance
Jacques Seligmann, Paris, by purchase; Henry Walters, Baltimore, 1910, by purchase; Walters Art Museum, 1931, by bequest.
date
1675-1690 (Baroque)
rightsUri
CC0
language
en
genreSpecific
Metal
statuary groups
imageCount
1
pageCount
1
source
import
dimensions
units
cm
width
38.7
height
18.3
depth
18.5
dimensionsRaw
H: 15 1/4 × W: 7 3/16 × D: 7 5/16 in. (38.7 × 18.3 × 18.5 cm)
Source extras
med
bronze
creator_ids
6740
collection_ids
BAR
exhibition_ids
1994
Single page context
seq
1
pageIndex
0
type
photo
mediaId
4587a1b4257784df