2 - ATTRIBUTED TO PIETRO TACCA (Carrara, 1577 – Florence, 1640). Italy, probably the first half of the 17th century.

ATTRIBUTED TO PIETRO TACCA (Carrara, 1577 – Florence, 1640). Italy, probably the first half of the 17th century. “The Living Christ on the Cross.” Gilded bronze. Figure of Christ without a cross, mounted on a metal base. It retains the mounting holes in the hands and feet. Measurements: 45 x 32 x 7 cm. This sculpture is part of the distinguished tradition of bronze crucifixes developed in Florence between the late 16th century and the first half of the 17th century, particularly associated with Giambologna and his successors. Its formal conception—characterized by elegant proportions, anatomical precision, and restrained expressiveness—allows it to be stylistically linked to the models associated with Pietro Tacca, one of the leading figures in early Baroque Florentine sculpture. The figure depicts Christ still alive on the cross, with his arms outstretched in a pronounced upward diagonal, his head raised and slightly tilted, and his mouth slightly parted. This iconography, which depicts Christ in the moments leading up to his death, offers the sculptor the opportunity to combine physical suffering with an idealized representation of the human body. The breadth of the gesture, the restrained movement of the torso, and the asymmetrical arrangement of the legs lend the composition a remarkable sense of dynamism, within a formal balance characteristic of the Florentine Mannerist tradition. The sculpture is currently displayed without the loincloth, a circumstance that allows for a full appreciation of the anatomical rendering. The modeling of the chest, the abdominal musculature, and the limbs reveals particular attention to the articulation of volumes and the transitions between different surfaces. It has not been determined whether the figure was originally conceived without this element or whether it was part of a separate piece. Of particular interest is the treatment of the head, framed by abundant wavy locks of hair that are hallmarks of the smoother surfaces of the body. The tilt of the face, the upward gaze, and the slightly parted mouth concentrate the expressive intensity of the composition, conveying an image of restrained suffering and spiritual elevation. The gilded surface accentuates the play of light on the anatomy, while the darker areas—particularly visible on the face and hair—add depth to the modeling. The work finds its primary artistic context in the production of crucifixes developed by Giambologna and continued by his disciples and collaborators. Among them was Pietro Tacca, who, following his master’s death in 1608, took over the direction of the Florentine workshop and contributed decisively to the dissemination of his models. The continuity of prototypes, casting techniques, and formal solutions among Giambologna, Pietro Tacca, his son Ferdinando, and other sculptors in their circle constitutes one of the main historiographical issues in the study of these bronzes. Within this tradition, a gilded bronze “Living Christ on the Cross,” dated between 1620 and 1640 and listed in the General Catalog of Cultural Heritage of Italy as attributed to Pietro and Ferdinando Tacca, is particularly significant. The work, located in Rimini, belongs to a typology associated with Florentine production of the period and highlights the complexity of attributions within the Tacca family. This parallel serves as a useful reference for contextualizing the present sculpture stylistically and chronologically, though it does not necessarily imply that the two share the same model or authorship. Another significant reference for the study of Pietro Tacca’s religious work is the so-called Pistoia Crucifix, dated to around 1600–1616 and housed at the National Gallery of Art in Washington. Although it follows a different compositional approach, it constitutes a fundamental testament to the development of devotional bronze sculpture within the Florentine sphere and to the evolution of the artistic language inherited from Giambologna. The creation of bronze crucifixes took on special importance in Italy during the late Renaissance and early Baroque periods. These sculptures, intended for both liturgical spaces and private chapels and oratories, combined their religious function with high artistic merit. The precision of the casting, the quality of the modeling, and the richness of the finishes made them objects particularly prized by a clientele linked to royal courts, the aristocracy, and ecclesiastical institutions. The widespread circulation of Florentine models also helped extend their influence across various European territories. Pietro Tacca was born in Carrara in 1577 and received his artistic training in Florence under the guidance of Giambologna, becoming one of his most prominent collaborators. After his master’s death in 1608, he took over the workshop and held a privileged position as a sculptor at the Medici court. His body of work ranged from small bronze