Lorenzo BARTOLINI and workshop (Vernio, 1777 - Florence, 1850) Trust in God White marble Signed 'BARTOLINI' on the base Height : 68.6 cm (Small accident in the hair) Faith in God, white marble, signed, by L. Bartolini and workshop H. 27.00 in. Provenance: Private European collection Bibliography: related : Franca Falletti, Silvestra Bietoletti, Annarita Caputo, Lorenzo Bartolini, scultore del bello naturale, Giunti, Firenze Musei, 2011, model listed under no. 54, p. 310-312 Stefano Grandesso, "Dal classicismo more romano alla scultura romantica come natura, sentimento religioso e impegno civile", edited by Carlo Sisi, L'Ottocento in Italia. Le arti sorelle. Il Romanticismo 1815-1848, Milan, 2006, pp. 165-195 David Tomasi, Iconografia dell'arto inferiore in relazione all'atteggiamento e al gesto, Accademia di Belle Arti di Verona, 2002, p. 3 Related works : Lorenzo Bartolini La Fiducia in Dio, 1834-1835, signed 'BARTOLINI' on the back of the base, approx. H. 93 x W. 48 x D. 70 cm, Italia, Prato, Museo Civico, inv. no. 1178 Lorenzo Bartolini, La Fiducia in Dio, 1834-1835, marble, H. 93 x W. 43 x D. 61 cm, commissioned for the Marquise Rosa Trivulzio Poldi Pezzoli in memory of her husband in 1834, Milan, museo Poldi Pezzoli, inv. 1117 Lorenzo Bartolini , La Fiducia in Dio, after 1836, marble, signed "L.B.F.", H. 67 x W. 24 x D. 43 cm, Prato, Collezione Banca Popolare di Vicenza, Galleria di Palazzo degli Alberti, inv. no. 137 Lorenzo Bartolini , La Fiducia in Dio, plaster, annotated 'L.B.' and signed 'BARTOLINI', on a later base, Carrara, Accademia di Belle Arti Lorenzo Bartolini and Pasquale Romanelli, La Fiducia in Dio, marble, 1858, Saint Petersburg, Hermitage Museum, inv. no. 1178 Lorenzo Bartolini, La Fiducia in Dio, marble, Azerbaijan, Baku, Azerbaijan State Museum of Art Workshop of Lorenzo Bartolini, La Fiducia in Dio, circa 1850, marble and wood, H: 46 cm, Monsummano Terme, Museo Nazionale di Casa Giusti, inv. no. 64/1 After Lorenzo Bartolini, La Fiducia in Dio, circa 1854, H: 46.5cm, plaster, Sesto Fiorentino, Stabilimento Richard-Ginori, inv. no. 403 Commissioned from Lorenzo Bartolini in 1834 by the Marquise Rosa (Rosina) Trivulzio Poldi Pezzoli following the death of her husband Giuseppe Poldi Pezzoli (1833), the original work entitled Confidence in God was conceived as an intimate, devotional monument, intended to illustrate the widow's trusting abandonment to faith. Completed in 1835-1836, the sculpture depicts a nude young girl sitting on her heels, her hands clasped to her chest and her gaze raised to heaven. The care taken with the physiognomy expresses the "natural beauty" so dear to the sculptor, who advocated replacing the academic ideal with direct experimental naturalism. Although critics have emphasised the formal affinities with Canova's Madeleine pénitente and Ingres' Baigneuse de Valpinçon, these illustrious influences do not detract from the naturalist inclination that characterises Bartolini's work. By removing all religious or allegorical attributes, the artist concentrates an extremely high spiritual sentiment in the naked body, while deliberately avoiding anecdotal sensuality. The nudity underlined by the whiteness of the marble becomes the vehicle of moral purity, transforming a composition linked to private mourning into a universal image of Hope. Confidence in God became one of the most emblematic works of Italian sculpture of the post-Canover generation, marking the transition from idealising neoclassicism to a naturalism open to the beginnings of the Romantic movement. Presented from 1836 in the Florentine studio, then in Parma and at the Academy of Brescia, the work was unanimously admired. The Bartolini workshop distributed the subject in the form of two reductions (approx. 68 and 46 cm high). The Marquise Trivulzio Poldi Pezzoli also commissioned Bartolini to produce a bust portrait of herself, which has been carefully preserved by her son and is still on display in the collection of the Poldi Pezzoli Museum in Milan (no. 0059). Lorenzo BARTOLINI and workshop (Vernio, 1777 - Florence, 1850)