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<p>[QUOTE=&quot;nick1998, post: 11651811, member: 97611&quot;]Magnificent piece of art! I would also certainly agree the attribute to Antonio, perhaps only by the appearance of this early selection of stone. This type of sardonyx and bloodstone certainly circa dates to late 18th C, and makes the Verge sign convincing. I’m more fond of the classical rendering of faces and profiles therefore my main collection falls into that type. But the human anatomy is another diamond in glyptic word, that’s for sure. </p><p><br /></p><p><br /></p><p>I find it very interesting that I can still see the familiar clue in this scenario cameo comparing to the Sotheby’s Antinous. The subtle and softness of anatomy was well expressed on the two figures, especially the muscle and the belly, indicating the fully capability of executing smooth rendering. Yet when I looked at the drapery, the same feeling that I witnessed from the Sotheby’s Antinous came back. Notice here, the fold of the drapery is merely expressed by two bold, rough cut of lines. [ATTACH=full]546827[/ATTACH] The same lines can be seen on the hair and drapery of Antinous. It seems unusual to me because comparing to Antonio’s peer the contrast is so strong. For example, this famous cameo by Pichler, collection of the MET, shows much gentler, smoother, natural transition in the lines of drapery.[ATTACH=full]546828[/ATTACH] Or this scenario cameo made by Girometti, also collected in MET, showed a slight different way of executing but expressing the same idea.[ATTACH=full]546829[/ATTACH] The point is, I find it interesting that Antonio seems to deliberately choose this style of cutting in my personal perception. It looks like he wants to emphasize lines and impressions instead of like most of his peers masters chose to focus and rendering on the expression of volume, light and shadows. I wonder if he was influenced by the rising Impressionism art of that era for the similar emphasis of the manipulation of lines.[/QUOTE]</p><p><br /></p>

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