Tommaso Solari

Tommaso Solari (Nápoles, 4 de septiembre de 1820-1889^[1]) fue un escultor italiano.

Nació en una familia de artistas. Su padre, Angelo Solari (1775-1846), intentó hacer de él un arquitecto, pero Tomasso prefirió continuar el oficio de escultor de su padre y abuelo (que también se llamaba Tomasso, muerto en Caserta en 1779 y que había realizado numerosas copias de obras clásicas para los jardines del Palacio de Caserta, muchas de las cuales están hoy en los jardines de la Villa Comunale de Nápoles.

Tras estudiar escultura en Nápoles, ganó una estancia de estudios en Roma. En las exhibiciones de la scuola del nudo y diversas exposiciones, ganó varios premios. Destacan las medallas de oro de las Exposiciones de 1846 y 1848. En la Gran Exposición de Londres de 1851 ganó una medalla conmemorativa, y en Florencia la medalla de mérito. Fue nombrado escultor adjunto en el Instituto de Bellas Artes de Nápoles, académico de mérito de las clases de escultura de la Accademia di San Luca de Roma, y asociado de la Academia de Bellas Artes de Nápoles. Fue recompensado con la Cruz de San Mauricio y San Lázaro y la Orden de la Corona de Italia.^[2]

Entre sus discípulos estuvieron Achille D'Orsi y Raffaele Belliazzi.

↑ City of Naples, short biography.
↑ Recibió este amplio elogio del crítico Agostino Della Sala Spada: "Solari was not a revolutionary, nor a leader of a scuola, nor a grandiose man, like many young artists do today. He is modest, lives the good, has a good bourgeois habits, quality that immediately captivate the good will, respect, and affection of those who approach him." Regarding his statue of Charles of Anjou the critic continued: "This sculpture honest, fair, academic in style, which has done so much honor in Naples, his art respects the past and it continues the beautiful and glorious traditions, showing novelty only in time ... it draws the best from the past and the present ... for a while, the ungrateful and unworthy pupils accused him of senility, of not reflecting reality, of overly academic, and I know, the master of this art, art fair, made of serenity and of constant work, has emerged powerfully, so no doubt, once again, for feeling, for dignity, for modelling . And while it is true that the folds of the mantle are a bit adjusted, do not forget, that the sculpture can not be never sciamannatezza (good for nothing), that certain lines is well kept, the composure that stops the eye, and there conquers, while certain daring project for the innovators, who decry it and can not explain it, and that, finally, if the face of Charles d'Anjou fails, humanly, unpleasant and repulsive, so, and not otherwise, unless the artist had not wanted to betray the story, he had to, and wanted to represent him. Angelo de Gubernatis (1889-1892). Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti. Firenze: Tipe dei Successori Le Monnier. pp. 484-485. Wikidata Q123706057.

[1] City of Naples, short biography.

[2] Recibió este amplio elogio del crítico Agostino Della Sala Spada: "Solari was not a revolutionary, nor a leader of a scuola, nor a grandiose man, like many young artists do today. He is modest, lives the good, has a good bourgeois habits, quality that immediately captivate the good will, respect, and affection of those who approach him." Regarding his statue of Charles of Anjou the critic continued: "This sculpture honest, fair, academic in style, which has done so much honor in Naples, his art respects the past and it continues the beautiful and glorious traditions, showing novelty only in time ... it draws the best from the past and the present ... for a while, the ungrateful and unworthy pupils accused him of senility, of not reflecting reality, of overly academic, and I know, the master of this art, art fair, made of serenity and of constant work, has emerged powerfully, so no doubt, once again, for feeling, for dignity, for modelling . And while it is true that the folds of the mantle are a bit adjusted, do not forget, that the sculpture can not be never sciamannatezza (good for nothing), that certain lines is well kept, the composure that stops the eye, and there conquers, while certain daring project for the innovators, who decry it and can not explain it, and that, finally, if the face of Charles d'Anjou fails, humanly, unpleasant and repulsive, so, and not otherwise, unless the artist had not wanted to betray the story, he had to, and wanted to represent him. Angelo de Gubernatis (1889-1892). Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti. Firenze: Tipe dei Successori Le Monnier. pp. 484-485. Wikidata Q123706057.

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