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Storied Strings: The Art of Violin Collecting (00:29:41) 35 views
From Andrea Amati to Antonio Stradivari (00:22:25) 20 views
Made in Cremona: Twenty-First-Century Violin-Making Traditions (00:19:47) 5 views
Performance by Dan Zhu (00:19:42) 8 views
"The Gould"
The Antonius
The Batta-Piatigorsky Violoncello
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This artwork is currently on display in Gallery 684
Antonio Stradivari (b. Cremona?, 1644?; d. Cremona, 1737) has long been thought to have been an apprentice of Nicolò Amati, but census documents do not list Stradivari as a garzone (shopboy) in the Amati household. Stradivari's early instruments do show the stylistic influence of the Amati, but as Girolamo II and Nicolò were the principal makers in Cremona during Stradivari's formative years, it would be natural for Stradivari to have been influenced by their work. Antonio Stradivari worked with two of his sons, Francesco (1671-1743) and Omobono (1679-1742), and today over 600 instruments survive from this prodigious workshop. Stradivari experimented with the shape and arching of the violin. In 1690 he devised a somewhat longer and narrower body outline that is referred to as the "long pattern." By 1700 he abandoned this pattern and reverted to the broader shape that was typical of his earlier violins.
Marking: (on label pasted inside body) Antonius Stradiuarius Cremonensis/Faciebat Anno 1694
Dobney Jayson Kerr. "Guitar Heroes: Legendary Craftsmen from Italy to New York." The Metropolitan Museum of Art Bulletin (2011), pg. 41, ill.Kerr Dobney Jayson. Watteau, Music, and Theater. Ed. Katharine Baetjer Metropolitan Museum of Art. New York, 2009, pg. 132, fig. 59, ill.Winternitz Emanuel. Musical Instruments of the Western World. McGraw Hill Book Company. New York, Toronto, 1967, pg. 184-186, fig. 70, ill.
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