CROFF, Giuseppe - b. 1810 Milano, d. 1869 Torno - WGA

CROFF, Giuseppe

(b. 1810 Milano, d. 1869 Torno)

Italian sculptor. Little is known about his life. He lived and worked in Milan, but evidence suggests that he had also an active artistic career near Lake Como, in Italy’s lake region.

He studied at the Accademia di Brera in Milan and from 1830 to 1833 he studied under the guidance of Camillo Pacetti. He later attended the workshop of Pompeo Marchesi. Croff was inspired by the Neoclassical movement, and his figures demonstrate the ideal standards of Classical beauty. However, he was not confined by tradition and explored other styles in his marble compositions. He was also known for his terracotta figures.

Between 1837 and 1865 he worked for the Fabbrica del Duomo di Milano, where he produced a figure of St John of God for the exterior of the Cathedral of Milan. He was one of a few Milanese sculptors from whom the Emperor of Austria ordered a sculpture to celebrate his coronation as King of Lombardy: the sculptor created a seated nude figure of a girl, called Fate, which was placed on the ground floor of the Vatican Belvedere in 1845.

Leda and the Swan
Leda and the Swan by

Leda and the Swan

Nymph at the Fountain
Nymph at the Fountain by

Nymph at the Fountain

This marble follows the style of the influential Neoclassical Venetian sculptor, Antonio Canova. The composition places it among a Classical tradition of representing goddesses and mythical female nudes - often modestly attempting to cover themselves. However, it is a departure from Neoclassicism and a move towards Romantic Italian sculpture.

The Veiled Nun
The Veiled Nun by

The Veiled Nun

The Veiled Nun, in the Corcoran Gallery of Art in Washington DC, is one of Croff’s most celebrated works and also one of the most popular objects in the prestigious collection. Carved in marble, The Veiled Nun is a fine example of a detailed rendering of texture and form, as the thin material gently reveals the contours of the nun’s face.

Despite the title, the woman’s elegant, stylish coiffure and finely embroidered veil indicate that she is a woman of means or an allegorical figure, rather than a member of a religious order. The veiled woman was a popular subject in painting and sculpture during the second half of the 19th century, and Croff’s handling of the diaphanous veil coyly reveals as much as it conceals.

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