Attributed to Alessandro Vittoria; 16th century

Attributed to ALESSANDRO VITTORIA (Trento, 1525 – Venice, 1608).
“Our Lady of Sorrows.”
Gilded bronze.
Measurements: 23.5 x 6 x 6 cm.
The technical refinement of the bronze and the elegance of the figure make this depiction of the Sorrowful Virgin an interesting example of Venetian sculpture in the Mannerist tradition. Cast using the lost-wax technique, the image depicts Mary in a pose of deep contemplation, with her head slightly bowed and her hands clasped over her chest. The stylized proportions, the delicacy of the modeling, and the restraint of the gesture combine to create an image of intense spirituality, in which suffering is expressed through composure and serenity. This type of representation was commonly part of sculptural ensembles dedicated to the Passion of Christ, especially the Calvary scenes, where the Virgin embodied a mother’s grief at the sacrifice of her son.

From a stylistic standpoint, the work shows affinities with the style of Alessandro Vittoria (1525–1608), one of the most prominent figures in late Renaissance Venetian sculpture. The anatomical stylization, the delicacy of the modeling, and the elegance of the movement all point to the artistic world of the Trentino sculptor, whose work successfully combined classical tradition with the ornamental sophistication of Mannerism. These characteristics can be compared to his famous Saint Sebastian (1566), housed at the Metropolitan Museum of Art, where the artist demonstrates his extraordinary ability to translate anatomy and movement into a composition of great refinement. Also significant is the comparison with the Annunciation, housed at the Art Institute of Chicago, as well as with the figures of the four Evangelists, made of terracotta and held at the same institution. These works allow us to appreciate Vittoria’s versatility and his particular sensitivity toward restrained expression, the elegance of the poses, and the sculptural richness of the materials

Alessandro Vittoria was one of the most prominent sculptors of the Venetian Renaissance and a key figure in the transition to Mannerism. He was initially trained in his hometown and moved to Venice in 1543, where he joined the workshop of Jacopo Sansovino, whose influence proved decisive in his artistic development. Thanks to his talent, he achieved notable recognition and worked for important patrons, collaborating with artists such as Titian, Tintoretto, and Paolo Veronese, as well as with the architect Andrea Palladio. His works are housed in major international institutions, such as the Metropolitan Museum of Art, the Victoria and Albert Museum, and the Kunsthistorisches Museum. His style is characterized by elegant forms, technical refinement, and a combination of naturalism and classical idealization.