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  Home>Plan Your Visit>Tours, Guides, and Maps>Self-Guided Tours>Audio Stop 222
      

      
      Search Audio Stop 222 Select LanguageEnglishChineseKoreanSpanishJapanese
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 This free-standing, painted, terracotta portrait sculpture shows the head, shoulders, and chest of a man with dark hair and a prominent nose. His face and body are angled slightly to our right in this photograph, and he looks down his crooked nose. He has peach-colored skin, which is lightly shadowed around his chin. His thin lips are set in a line, and his brow is furrowed low above his eyes. Chin-length brown hair hangs straight down the sides of his face. His garment has scarlet-red sleeves under a navy-blue tunic, and he wears a red headdress that hangs down to his shoulder over his left ear, on our right. A red scarf drapes across his chest, and the end hangs on his chest on our left. Paint losses on the surface of the sculpture allow the brown terracotta to show through in some areas.
 Florentine 16th Century, probably after a model by Andrea del Verrocchio and Orsino Benintendi *Lorenzo de' Medici*, possibly 1513/1520 La conservadora sénior y jefa de conservación de objetos Shelley Sturman profundiza en torno a los detalles que revela el estudio de materiales de este impactante busto del
 Transcripción de audioNARRADOR: 
Este busto nos pone en presencia de Lorenzo de Médici, gobernante de la ciudad estado italiana de Florencia. Fue uno de los hombres más poderosos de Europa a finales del siglo XV.
SHELLEY STURMAN: 
Hola, soy Shelley Sturman, conservadora principal y encargada de conservación de objetos en la National Gallery of Art.
Cuando vemos los cuadros de Lorenzo, hay muchas características específicas: sus inquietantes cejas, su mandíbula inferior sobresaliente y su nariz muy firme. Todos esos detalles se capturaron en este busto. Él solo nos intimida con su mirada.  No es una mueca, pero seguro tampoco es una sonrisa: es su aire de autoridad. Uno percibe su poder.  Se capta su sentimiento de que sabe lo que ocurre. Él cuida de sí mismo.  
NARRADOR: 
El busto, de terracota pintada, o arcilla, solía ser de colores más oscuros. El equipo de conservación exploró debajo del barniz moderno.
SHELLEY STURMAN: 
Comenzamos a ver que había capas de tierra encima de las capas de colores vivos, las capas originales.  Vimos barba incipiente en las mejillas y el mentón.  En los ojos pudimos ver pequeñas motas de pintura.  La túnica oscura resultó ser de un color mora profundo. El tocado era rojo intenso, brillante. 
NARRADOR: 
Esos detalles ayudan a hacer el retrato de Lorenzo intensamente vívido. Este busto puede incluso ser el mismo retrato que conmovió a su hijo hasta las lágrimas cuando lo vio después de la muerte de su padre.  
SHELLEY STURMAN: 
Uno puede verlo a los ojos y sentir su presencia. Se ve mucho más como un ser vivo que como un ser hecho con arcilla, uno tiene la sensación de cómo se veía la gente entonces, cómo vestía, cómo actuaba. Uno siente que desearía sentarse ahí y mirarlo un poco más y tratar de descifrar cómo era la vida y qué hacían de sus días.
Creo que la escultura es una forma muy importante de mirar al pasado, de verse uno mismo en figuras históricas. Visita guiada del Edificio Oeste: Selección destacada
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