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==Further reading==
==Further reading==
*{{Citation |last=Helstosky |first=Carol |year=2009 |title=Giovanni Bastianini, Art Forgery, and the Market in Nineteenth‐Century Italy |journal=The Journal of Modern History |volume=81 |issue=4 |pages=793–823 |doi=10.1086/605486 }}.
*{{Cite journal |last=Helstosky |first=Carol |year=2009 |title=Giovanni Bastianini, Art Forgery, and the Market in Nineteenth‐Century Italy |journal=The Journal of Modern History |volume=81 |issue=4 |pages=793–823 |doi=10.1086/605486 |postscript=<!-- Bot inserted parameter. Either remove it; or change its value to "." for the cite to end in a ".", as necessary. -->[[Category:Articles with inconsistent citation formats]] }}.


==External links==
==External links==

Revision as of 19:22, 6 August 2010

Giovanni Bastianini (September 17, 1830 – June 29, 1868) was an Italian sculptor who began his career as a stonecutter in the quarries at Fiesole, and was sent by Francesco Inghirami to study in Florence, first with Pio Fedi and then with Girolamo Torrini, with whom he collaborated on a statue of Donatello for the portico of the Uffizi.

Bastianini admired Renaissance sculpture, which became his main inspiration. From 1848 to 1866 he was under contract to an antique dealer, Giovanni Freppa, who supplied him with casts and models as well as a stipend in exchange for which Bastianini produced numerous neo-Renaissance works, especially busts and bas-reliefs in the style of Donatello, Verrocchio, Mino de Fiesole and other Italian Old Masters, most of which were sold as genuine to such noted museums as the Victoria and Albert Museum in London and the Louvre.

None of the pieces was suspected of being inauthentic, and the deception was eventually revealed by a jealous dealer.

See also

Further reading

  • Helstosky, Carol (2009). "Giovanni Bastianini, Art Forgery, and the Market in Nineteenth‐Century Italy". The Journal of Modern History. 81 (4): 793–823. doi:10.1086/605486{{cite journal}}: CS1 maint: postscript (link).