O IN T O F V IE W It was not the carving technique―digital modeling that is about two and a half decades old―that interested me, but what I call “Art and Parentalship” (not only the creator but the situation that precipitated the creation). This portrait was born from a game between friends: Gualtiero Vanelli invited Andrea Bocelli to his marble carving studio and asked if he would like a portrait of himself sitting in the marble Proust armchair of Alessandro Mendini. Bocelli accepted and struck a pose that was then scanned in 3D and carved in Carrara marble by the studio’s robot. The portrait was donated at a charity event in Florence and sold at auction for €700,000 to Larry and Camille Ruvo, two philanthropists from Nevada. Portraiture gives us faces that have accompanied our civilization. The success in capturing the subject’s resemblance has always been a matter of discussion. One historic dialogue between public opinion and an artist’s interpretation of the sitter occurred when Michelangelo presented his sculpture of Lorenzo il Magnifico. People were horrified by the lack of resemblance to the subject. Mike responded simply by saying that in 500 years no one will remember Lorenzo’s homely features; rather, he will be remembered by his grand deeds reflected in a beautiful portrait. This response is one of the reasons why Michelangelo is the first to be defined by the contemporary term “artist.” Sculptor Laura Ziegler, a longtime friend, has devoted much of her copious work to portraiture. She is constantly drawing and sculpting anyone who encounters her space. In this sculpture of Conte Giovanni Tadini, we recognize the comfort of a visiting friend as in that of Bocelli: la joie de vivre, in my point of view.

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您及时的“外观”

O IN TOFV IE W 让我感兴趣的不是雕刻技术——大约有两年半历史的数字建模——而是我所谓的“艺术和父母关系”（不仅是创作者，还有促成创作的情境） . 这幅肖像源于朋友之间的一场游戏：瓜尔铁罗·瓦内利邀请安德烈·波切利到他的大理石雕刻工作室，问他是否想要一张自己坐在亚历山德罗·门迪尼的普鲁斯特大理石扶手椅上的肖像。波切利接受并摆出一个姿势，然后由工作室的机器人进行 3D 扫描并雕刻在卡拉拉大理石上。这幅肖像是在佛罗伦萨的一次慈善活动中捐赠的，并在拍卖会上以 70 万欧元的价格卖给了来自内华达州的两位慈善家拉里 (Larry) 和卡米尔·鲁沃 (Camille Ruvo)。肖像画为我们提供了伴随我们文明的面孔。成功捕捉主题的相似之处一直是一个讨论的问题。当米开朗基罗展示他的 Lorenzo il Magnifico 雕塑时，公众舆论和艺术家对保姆的解释之间发生了一次历史性的对话。人们对与主题缺乏相似之处感到震惊。迈克简单地回答说，在 500 年内没有人会记得洛伦佐的家常特征；相反，他会被反映在一幅美丽肖像中的伟大事迹铭记于心。这种回应是米开朗基罗成为第一个被当代术语“艺术家”定义的原因之一。雕塑家劳拉·齐格勒 (Laura Ziegler) 是一位老朋友，她的大量作品都致力于肖像画。她不断地绘画和雕刻任何遇到她空间的人。在孔蒂·乔瓦尼·塔迪尼的这尊雕塑中，