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Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
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Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
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Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95

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Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95
Journal Article

Bertoldo Di Giovanni: The Renaissance of Sculpture in Medici Florence. Aimee Ng, Alexander J. Noelle, and Xavier F. Salomon. Exh. Cat. The Frick Collection. New York: D. Giles, 2019. 496 pp. $84.95

2022
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Overview
Held at the Frick Collection (September 2019–January 2020), the exhibition featured more than twenty free-standing sculptures, medals, and reliefs attributed to the artist, including the Frick's Shield Bearor (cat. no. 3). [...]Noelle emphasizes the import of recognizing Bertoldo's diverse works—created across a wide variety of media—as manifesting a collaborative practice in which “he was often designer and modeler, envisioning the motifs that he then employed others to render” (43). With an attentiveness to historical context and sculptural processes, consideration of a range of media and forms, and sustained emphasis on the collaborative nature of the works considered, this book emerges as essential reading for those seeking a better understanding not only of Bertoldo di Giovanni but also of early modern sculpture itself.
Publisher
Cambridge University Press

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