In Rondanini Faun, how is the Sculpture discussed?
The restored statue was attributed to Duquesnoy by the latter's biographer, Giovanni Pietro Bellori. Duquesnoy's pupil, Orfeo Boselli, attributed the statue to the Fiammingo.In his Osservazioni, in the chapter treating restoration, Boselli cited the Rondanini Faun as proof of Duquesnoy's skills in the practice. As reported by Estelle Lingo "Boselli described the figure as leaping, and the [Rondanini Faun] is indeed represented in mid action, up on the toes of his right foot with his left foot lifted, both arms extended and head raised, as if he had just leapt and struck the cymbals he is holding." The broad movement of the faun is sign of the Baroque influence in Duquesnoy's day, an admirer of la maniere greca, who in this instance (the restoration of a sculpture ancient per se) nonetheless allowed Baroque influence to permeate the statue.Duquesnoy provided at least the head and the limbs for this sculpture, originally a severed torso with a faun tail. The upper limbs are what conveys the broad movement of the figure. The Fiammingo completed this oeuvre for Alessandro Rondanini, and in fact the sculpture take its name from the Palazzo Rondanini in Rome.
Rome left faun Orfeo Boselli Giovanni Pietro Bellori Faun