03 — ARTWORK
Hope
CORNACCHINI, Agostino · 1726 →
- MEDIUM
- Marble
- TYPE
- Mythological
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
THIS REPRODUCTION DOWNLOAD THE FULL FILE ↓
- FILE
- 550 × 1079 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The figure of Hope at the entrance of the chapela small separate place for worship, either part of a large church or a separate building. of Monte di PietàA depiction of the Virgin Mary with the crucified body of Jesus across her lap. Developing in Germany in the 14th century, the Pietà became a familiar part of Renaissance religious imagery. One of the best-known examples is Michelangelo's "Pietà" (1497-1500) in St. Peter's, Rome. is a masterpieceA term now loosely applied to the finest work by a particular artist or to any work of art of acknowledged greatness or of preeminence in its field. Originally it meant the piece of work by which a craftsman, having finished his training, gained the rank of'master' in his guild. of Cornacchini. He is certainly an interpreter of RococoA style of design, painting, and architecture dominating the 18th century, often considered the last stage of the Baroque. Developing in the Paris townhouses of the French aristocracy at the turn of the 18th century, Rococo was elegant and ornately decorative, its mood lighthearted and witty. Louis XV furniture, richly decorated with organic forms, is a typical product. Leading exponents of the Rococo sryle included the French painters Antoine Watteau (1684-1721) and Jean-Honoré Fragonard (1732-1806), and the German architect Johann Balthasar Neumann (1687-1753). Rococo gave way to Neo-classicism. who cannot be disregarded, if only for the importance of the work he had the opportunity to carry out. However, Hope already shows the limits of his art. While it is true that the figure is well-constructed and the two cherubs have all the softness of children (revealing considerable technical ability), it is equally true that incongruous solutions are present, such as the pedestal supporting the standing child behind the female figure and the hem of the skirt with which the woman tries to cover the other cherubIn Jewish, Christian, and Islamic literature, a celestial winged being with human, animal, or birdlike characteristics; a throne bearer of the deity. Derived from ancient Near Eastern mythology and iconography, these celestial beings serve important liturgical and intercessory functions in the hierarchy of angels. Old Testament descriptions of the cherubim emphasize their supernatural mobility and their cultic role as throne bearers of God, rather than intercessory functions. In Christianity the cherubim are ranked among the higher orders of angels and, as celestial attendants of God, continually praise him.. The taut and straight cloth splits the image awkwardly. The lowest point is the expression on the face of the woman, whose nose, while Greek, is too wide and imposing. Similarly, her mouth is gathered in a sort of smile that does not manage to be either benevolent or reassuring.
CITE THIS RECORD — BIBTEX
@online{wga-rd89e07bf2cc93d,
author = {Krén, Emil and Marx, Daniel},
title = {Hope by CORNACCHINI, Agostino},
organization = {{Web Gallery of Art}},
date = {2026-09-11},
url = {https://beta.wga.hu/artists/cornacchini-agostino-raab9036e09a7c2/hope-rd89e07bf2cc93d},
urldate = {2026-09-11},
langid = {english}
}ACCESSED 2026-09-11. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY AGOSTINO CORNACCHINI
The archive catalogues no further works by this artist.
TRY SAME COLLECTION →