Arnina the Oceanic Nymph Returns to Florence in Exhibition at Accademia Gallery

The nymph Oceanid also known as the Arnina lost, will be on display at Accademia gallery from 18th November to 8th February. A neo-Renaissance sculptural work that had gone missing, and was found in England, in an art collection of a private. Now it returns home along the Arno even if just for a short period.

Arnina la ninfa oceanica di Lorenzo Bartolini

The Arnina, is a marble statue representing the nymph of the Arno River, by Lorenzo Bartolini Prato. An artist who was also a professor of the Academy of Fine Arts from 1839, when he was appointed the chair of sculpture. What makes this statue important by Lorenzo Bartolini, is that Arnina, which is on display at the Accademia gallery is the only copy of this line made ​​of marble. At that time the artist realized other models dedicated to this nymph, but all in plaster, one of which is preserved today on the third floor of the salon praetorian palace in Prato. In this hall over the plaster copy of the nymph of the Arno, there are other models in chalk such as "Mariana Gurieva", "the spinner" and "Trust in God", which is considered the most important work of his entire career as a sculptor. Of which the original are preserved today in the Museo Poldi Pezzoli in Milan. With the nymph, also called Oceanic Arnina Bartolini, the artist wanted to break the old tradition, and wanted the god of the river Arno to be represented by the figure of an elderly man, who wanted to celebrate, but be strong at the same time. Both the strength and the presence of thousands of years, symbolises the river on which the city of Florence would be founded. The Arnina represents a turning point, from the point of view of the artistic style, emphasizing forms and the pure classicism, reminiscent of the sculpture of the sixteenth century. The beauty of this work is expressed freely with realistic simplicity, that makes this sculpture very nice to see. Lorenzo Bartolini was a strong supporter of a style of sculpture revolutionary, who preferred the natural vitality in sharp contrast to the academic thinking of the time, that was true to the sculptural tradition of the past. For his artistic vision, Bartolini was long hampered by their colleagues of the Academy of Fine Arts in Florence, they did not like his innovative style, and long denied the award of the chair of sculpture artist Prato. Lorenzo Bartolini was certainly the most significant Italian artist of his period, after Antonio Canova, and despite the difficulties that were caused from the academic Italian tradition, he managed to get important jobs and honors from important people, abroad first of all by the then Emperor of France Napoleon, for which realization is also a sculptural bust appreciated. His reputation in France was great enough to get a critical success in 1855 at the Universal Exhibition in Paris, at the time the only Italian to have obtained a similar result.