From Publishers Weekly
Imagine a late Renaissance sculptor who could do religious scenes with the epic grandeur of Michelangelo and then turn to extremely realistic animal figures or sensuous bronze female nudes. Giambologna (1529-1608), the quick, prolific court sculptor to Medici dukes, later a protege of Roman emperors and popes, is not well-known today though he rated a profile in Vasari's Lives. Born Jean Boulogne in what is now northern France, he migrated to Italy where he tried to break the impasse of Cellini's inbred mannerism with a sometimes glib style that drew on his earthy Flemish roots as much as it did on Greco-Roman antiques. Best known perhaps for his flying Mercury, Giambologna has a dramatic, fleshy style that seduces even when it is superficial. River-gods, allegories, reliefs and fountains are among the works surveyed in this elegantly produced study. Avery is a director at Christie's, London. (November Copyright 1987 Reed Business Information, Inc.


From Library Journal
This is an exemplary book for both general reader and scholar. Avery, formerly of the Victoria and Albert Museum and curator of its great exhibition on Giambologna (Jean Boulogne, 1529-1608) in 1978-79, here distills his knowledge of the Franco-Fleming who became court sculptor to the Medici and the most important sculptor in Europe between Michelangelo and Bernini. The text is well organized and clearly written, the critical apparatus thorough and self-effacing, and the illustrations copious, though even those specially taken for this book vary in quality. The only caveat regarding this highly recommended book is that it is too heavy for its binding. Jack Perry Brown, Ryerson & Burnham Libs., Art Inst. of ChicagoCopyright 1988 Reed Business Information, Inc.


From Book News, Inc.
Giambologna (1529-1608) was the greatest sculptor of the age of Mannerism, renowned not only in Italy but throughout Europe. Avery's comprehensive, critical study covers his entire oeuvre, with chapters on marble statuary, bronze statuettes, devotional and narrative works, portraits, animal sculpture, fountains, and equestrian monuments. The volume concludes with a summary catalogue of all Giambologna's known works. The principal photographs (there are 286 in all) are by renowned photographer of sculpture David Finn. Splendid production characteristic of Phaidon Press. 9.5x12" Annotation copyright Book News, Inc. Portland, Or.

FROM THE CRITICS

Publishers Weekly

Imagine a late Renaissance sculptor who could do religious scenes with the epic grandeur of Michelangelo and then turn to extremely realistic animal figures or sensuous bronze female nudes. Giambologna (1529-1608), the quick, prolific court sculptor to Medici dukes, later a protege of Roman emperors and popes, is not well-known today though he rated a profile in Vasari's Lives. Born Jean Boulogne in what is now northern France, he migrated to Italy where he tried to break the impasse of Cellini's inbred mannerism with a sometimes glib style that drew on his earthy Flemish roots as much as it did on Greco-Roman antiques. Best known perhaps for his flying Mercury, Giambologna has a dramatic, fleshy style that seduces even when it is superficial. River-gods, allegories, reliefs and fountains are among the works surveyed in this elegantly produced study. Avery is a director at Christie's, London. (November 30)

Library Journal

This is an exemplary book for both general reader and scholar. Avery, formerly of the Victoria and Albert Museum and curator of its great exhibition on Giambologna (Jean Boulogne, 1529-1608) in 1978-79, here distills his knowledge of the Franco-Fleming who became court sculptor to the Medici and the most important sculptor in Europe between Michelangelo and Bernini. The text is well organized and clearly written, the critical apparatus thorough and self-effacing, and the illustrations copious, though even those specially taken for this book vary in quality. The only caveat regarding this highly recommended book is that it is too heavy for its binding. Jack Perry Brown, Ryerson & Burnham Libs., Art Inst. of Chicago

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