Rome, 1678 - Venice, 1741
See author's fileOwing to their ascending composition and their evidently decorative character, it is believed that these sculptural groups, the so-called Triumphs, were designed as table centrepieces. Like its pair (E00505), this group of ten figures represents allegories of the liberal arts through personifications of the concepts that define them, such as Imitation, Design, Study, Time and Harmony.
Hildburgh, W. L., Some Bronze Groups by Francesco Bertos, Apollo, XXVII, 1938, pp. 81-85, il. V.
Salas, Xavier de, Museo del Prado: adquisiciones de 1969 a 1977, Patronato Nacional de Museos, Madrid, 1978, pp. 92, 101[97].
Coppel Areizaga, Rosario, Catálogo de la escultura de época moderna. Museo del Prado: siglos XVI-XVIII, Museo del Prado; Fundación Marcelino Botín, Madrid, 1998, pp. 115, n. 31.
Avery, C., The triumph of motion. Francesco Bertos (1678-1741) and the Art of Sculpture. Catalogué raisonné, U. Allemandi & Co., Turin, 2008, pp. 18; 73-86; 214-215, n. 109.
Inv. Nuevas Adquisiciones (iniciado en 1856).
Núm. s/n.
Adquiridas a Doña Carolina Beamonte en 2.100.000 pts. Fco. Bertos: Tres esculturas: "La escultura, El Drama y la Guerra" [Aparece anotado en el inventario entre los asientos 1947 y 1948, pero no se le adjudicó número]
Room 090 (On Display)
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