Stefano Maderno. Stefano Maderno was an Italian sculptor.
News about Maderno's life are scarce and often contradictory. He was long supposed to have been a brother of the contemporary architect Carlo Maderno, and therefore to having been born at Capolago, in what is now Ticino: his death certificate, however, gave his place of birth as Palestrina and he signed a bas-relief in the Cappella Paolina in Santa Maria Maggiore as a Roman:.
He is best known for the seemingly unposed, naturalistic recumbent marble of Santa Cecilia in the Church of Santa Cecilia in Trastevere, which immediately established his reputation. Elected to the Accademia di San Luca in 1607, Maderno became the pre-eminent sculptor of his generation, on the cusp between Mannerism and Baroque, rivalled in his prime only by Camillo Mariani, though he was eclipsed in his later years by the rapidly rising star of Bernini.
His patron, Count Gaspare Rivaldi, having sought to reward him by procuring for him a sinecure at the excise offices of the Gabelle di Ripetta, the sculptor dutifully devoted his time to his new duties and neglected his art. The Santa Cecilia was a counter-statement to the current dry and hectic complications of Mannerism, to which it confronted a simple sweeping outline and a stark pose.
This is not a sanitized hagiographical representation of a saint, but the graphic representation of an uncorrupted corpse, claime
News about Maderno's life are scarce and often contradictory. He was long supposed to have been a brother of the contemporary architect Carlo Maderno, and therefore to having been born at Capolago, in what is now Ticino: his death certificate, however, gave his place of birth as Palestrina and he signed a bas-relief in the Cappella Paolina in Santa Maria Maggiore as a Roman:.
He is best known for the seemingly unposed, naturalistic recumbent marble of Santa Cecilia in the Church of Santa Cecilia in Trastevere, which immediately established his reputation. Elected to the Accademia di San Luca in 1607, Maderno became the pre-eminent sculptor of his generation, on the cusp between Mannerism and Baroque, rivalled in his prime only by Camillo Mariani, though he was eclipsed in his later years by the rapidly rising star of Bernini.
His patron, Count Gaspare Rivaldi, having sought to reward him by procuring for him a sinecure at the excise offices of the Gabelle di Ripetta, the sculptor dutifully devoted his time to his new duties and neglected his art. The Santa Cecilia was a counter-statement to the current dry and hectic complications of Mannerism, to which it confronted a simple sweeping outline and a stark pose.
This is not a sanitized hagiographical representation of a saint, but the graphic representation of an uncorrupted corpse, claime
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