Rear View of the Legs and Upper Base of Cellini's "Perseus," Loggia dei Lanzi, Florence c. 1909 - 1910

Editor: This is John Singer Sargent's "Rear View of the Legs and Upper Base of Cellini's 'Perseus'," a pencil drawing. It's interesting how Sargent focused on just this one part of the sculpture, almost like a fragment. What do you make of this choice? Curator: The fragment highlights the labor and material of Cellini’s bronze. Sargent’s pencil mimics the carving, calling attention to the artistic choices involved in representing the human form, and its consumption. How does Sargent’s choice of media affect your perception of Cellini’s sculpture? Editor: It feels more immediate, like a study. Almost like he's deconstructing the original. It does change how I think of Cellini's work as an object. Curator: Exactly. Sargent moves beyond the aura of the Renaissance masterpiece, and reveals the process of its creation and the societal systems it represents. Editor: I never thought of it that way, but that’s a good point! Curator: Yes, thinking about these details helps us to look at the bigger picture!