Italian sculptor. He was trained in Venice and became one of the best known sculptors of his period in Venice. When called to Naples by Raimondo di Sangro, Antonio Corradini had come to the end of a career that had taken him through Germany, Austria, and Bohemia; his Rococo style was understandably permeated with foreign influences. He died in Naples where he did the greater part of his work. He excelled in veiled statues ( Modesty, Sansevero Chapel, Naples). His bas-reliefs, in a very pictorial style, are extremely delicate
More ...Antonio Corradini (19 October 1688 – 12 August 1752) was an Italian Rococo sculptor from Venice. He is best known for his illusory veiled depictions of human body, where the contours of the face and bodies beneath the veil are discernible.
Born in Venice, Corradini spent most of his early career working in his hometown for various patrons in Veneto and Venetian Republic in general, as well as for Dresden and Saint Petersburg. Later, in 1730s, he spent a decade in Vienna where he was court sculptor for Charles VI, Holy Roman Emperor. In 1740s he moved first to Rome and later to Naples, where he died.
Corradini was the son of Gerolamo Corradini, a professional veler (packer of sails for ships), and his wife Barbara, and born in the parish of SS. Vito and Modesto in Venice. His family was modest.
Corradini was apprenticed to the sculptor Antonio Tarsia (1663 - ca 1739), for whom he worked probably for four or five years starting at the age of fourteen or fifteen (this was the norm at the time). He later became Tarsia's son-in-law.
Corradini seems to have come into his own as a sculptor around 1709. That year he was employed on work for the façade of the church of San Stae in Venice. Two years later, in 1711, he was recorded as having been enrolled in the Arte dei tagliapietra as one of the sculptors. By 1713 he had finally set up his own workshop and was working on the statue of St. Anastasia for the church of San Donato in Zara.
Corradini's commissions for the next several years came from patrons all over Europe. In 1716-17, he completed eighteen busts and two statues for the summer garden of the Russian czar Peter the Great in St. Petersburg, and the first of his famous veiled women; he would complete two more in the city in 1722. In 1716 he was commissioned to execute a monument to Johann Matthias von der Schulenburg, Marshal of the Venetian forces for the defence of island of Corfu. In 1720 he was paid for a signed altar dedicated to the Blessed Hemma, installed in the crypt of the cathedral in Gurk, Austria. Corradini completed the outdoor marble statuary group Nessus and Deianira in 1716 for a patron in Venice but a few years later, it was bought for the Grosser Garten in Dresden. The Apollo Flaying Marsyas and Zephyrus and Flora (1723-1728) are two life-sized marble sculptures originally commissioned by the King of Poland and Elector of Saxony, Augustus the Strong for the gardens of the Höllandisches Palais in Dresden (now in the Victoria and Albert Museum, London). It was also at this time that Corradini married Maria Tarsia.
In 1723, Corradini reputedly became the first person to legally separate the art of sculptors from the profession of stonemasons, forming part of a college that was established in 1724. He was faced with the task of guiding the new artistic profession through its infancy. In 1725-26 he was appointed curator of the laws of the institution and became its prior in 1727.
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