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Rosen, Mark
The Art bulletin (New York, N.Y.), 03/2015, Letnik: 97, Številka: 1Journal Article
Sculptural images of bound captives at the foot of a triumphant victor date back to antiquity, yet the portraitlike depictions of slaves in Pietro Tacca's Quattro Mori in Livorno (1622-26) were unique in transcending their iconographic roots to address contemporary social conditions in Tuscany's most important port. The development of the slave trade in Livorno and the contemporary construction of the Italian coast's most important bagno (slave prison) form the backdrop for Tacca's sympathetic and idiosyncratic treatment of these four Muslim captives.
