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Italian Renaissance Sculptor
Italian Renaissance sculpture was an important part of the art of the Italian Renaissance, in the early stages arguably representing the leading edge. The example of Ancient Roman sculpture hung very heavily over it, both in terms of style and the uses to which sculpture was put. In complete contrast to painting, there were many surviving Roman sculptures around Italy, above all in Rome, and new ones were being excavated all the time, and keenly collected. Apart from a handful of major figures, especially Michelangelo and Donatello, it is today less well-known than Italian Renaissance painting, but this was not the case at the time. Italian Renaissance sculpture was dominated by the north, above all by Florence. This was especially the case in the quattrocento (15th century), after which Rome came to equal or exceed it as a centre, though producing few sculptors itself. Major Florentine sculptors in stone included (in rough chronological order, with dates of death) Orcagna (136 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Painting Of The Piazza Della Signoria And Loggia Dei Lanzi, 1830 By Carlo Canella
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term ''painting ''describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, gesture (as in gestural painting), narration (as in narrative art), and abstraction (as in abstract art). Paintings can be naturalistic and representational (as in still life and landscape painting), photographic, abstract, nar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacopo Sansovino
Jacopo d'Antonio Sansovino (2 July 1486 – 27 November 1570) was an Italian Renaissance sculptor and architect, best known for his works around the Piazza San Marco in Venice. These are crucial works in the history of Venetian Renaissance architecture. Andrea Palladio, in the Preface to his ''Quattro Libri'' was of the opinion that Sansovino's Biblioteca Marciana was the best building erected since Antiquity. Giorgio Vasari uniquely printed his ''Vita'' of Sansovino separately. Biography He was born in Florence and apprenticed with Andrea Sansovino, whose name he subsequently adopted, changing his name from Jacopo Tatti. In Rome he attracted the notice of Bramante and Raphael and made a wax model of the ''Deposition of Christ'' for Perugino to use. He returned to Florence in 1511 where he received commissions for marble sculptures of St. James for the Duomo and a Bacchus, now in the Bargello. His proposals for sculpture to adorn the façade of the Church of San Lorenzo, ho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plaquette
A plaquette (, ''small plaque'') is a small low relief sculpture in bronze or other materials. These were popular in the Italian Renaissance and later. They may be commemorative, but especially in the Renaissance and Mannerist periods were often made for purely decorative purposes, with often crowded scenes from religious, historical or mythological sources. Only one side is decorated, giving the main point of distinction with the artistic medal, where both sides are normally decorated. Most are rectangular or circular, but other shapes are found, as in the example illustrated. Typical sizes range from about two inches up to about seven across a side, or as the diameter, with the smaller end or middle of that range more common. They "typically fit within the hand", as Grove puts it. At the smaller end they overlap with medals, and at the larger they begin to be called plaques. The form began in the 1440s in Italy, but spread across Europe in the next century, especially to Fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Medal
A medal or medallion is a small portable artistic object, a thin disc, normally of metal, carrying a design, usually on both sides. They typically have a commemorative purpose of some kind, and many are presented as awards. They may be intended to be worn, suspended from clothing or jewellery in some way, although this has not always been the case. They may be struck like a coin by dies or die-cast in a mould. A medal may be awarded to a person or organisation as a form of recognition for sporting, military, scientific, cultural, academic, or various other achievements. Military awards and decorations are more precise terms for certain types of state decoration. Medals may also be created for sale to commemorate particular individuals or events, or as works of artistic expression in their own right. In the past, medals commissioned for an individual, typically with their portrait, were often used as a form of diplomatic or personal gift, with no sense of being an award for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Funerary Art
Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs ("empty tombs"), tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living. The deposit of objects with an appar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francesco Laurana, A Princess Of The House Of Aragon, C
Francesco, the Italian (and original) version of the personal name "Francis", is the most common given name among males in Italy. Notable persons with that name include: People with the given name Francesco * Francesco I (other), several people * Francesco Barbaro (other), several people * Francesco Bernardi (other), several people *Francesco di Giorgio Martini (1439-1501), Italian architect, engineer and painter * Francesco Berni (1497–1536), Italian writer * Francesco Canova da Milano (1497–1543), Italian lutenist and composer * Francesco Primaticcio (1504–1570), Italian painter, architect, and sculptor * Francesco Albani (1578–1660), Italian painter * Francesco Borromini (1599–1667), Swiss sculptor and architect * Francesco Cavalli (1602–1676), Italian composer * Francesco Maria Grimaldi (1618–1663), Italian mathematician and physicist * Francesco Bianchini (1662–1729), Italian philosopher and scientist * Francesco Galli Bibiena (16 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giambologna
Giambologna (1529 – 13 August 1608), also known as Jean de Boulogne (French), Jehan Boulongne (Flemish) and Giovanni da Bologna (Italian), was the last significant Italian Renaissance sculptor, with a large workshop producing large and small works in bronze and marble in a late Mannerist style. Biography Giambologna was born in Douai, Flanders ( then and now in France), in 1529. After youthful studies in Antwerp with the architect-sculptor Jacques du Broeucq, he moved to Italy in 1550 and studied in Rome, making a detailed study of the sculpture of classical antiquity. He was also much influenced by Michelangelo, but developed his own Mannerist style, with perhaps less emphasis on emotion and more emphasis on refined surfaces, cool elegance, and beauty. Pope Pius IV gave Giambologna his first major commission, the colossal bronze Neptune and subsidiary figures for the Fountain of Neptune (the base designed by Tommaso Laureti, 1566) in Bologna. Giambologna spent his most ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leone Leoni
:''For the early 17th-century composer, see Leone Leoni (composer)''. Leone Leoni (ca. 1509 – 22 July 1590) was an Italian sculptor of international outlook who travelled in Italy, Germany, Austria, France, Spain and the Netherlands. Leoni is regarded as the finest of the ''Cinquecento'' medallists. He made his reputation in commissions he received from the Habsburg monarchs Charles V, Holy Roman Emperor and Philip II of Spain. His usual medium was bronze, although he also worked in marble and alabaster, carved gemstones and probably left some finished work in wax (in which many of his sculptures were modelled), as well as designing coins. He mainly produced portraits, and was repeatedly used by the Spanish, and also the Austrian, Habsburgs. Biography His family origins were at Arezzo, though he was probably born at Menaggio near Lake Como, and his early training, to judge from the finish of his medals, was with a medallist or goldsmith, as Vasari says. His earliest documenta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vincenzo Danti
Vincenzo Danti (1530 – 26 May 1576) was an Italian Renaissance sculptor from Perugia. His father was an architect and goldsmith, and Vincenzo developed an interest in drawing and goldsmithing. In 1545 he went to Rome to study sculpture and in 1553 he managed to secure a commission for a bronze statue of Pope Julius III which was placed outside Perugia Cathedral. In 1557 he went to Florence. In 1559 he made a bronze relief depicting ''Moses and the Brazen Serpent''. This was influenced by bronze reliefs by Donatello. It is cast in low relief and is not finished to a very high degree, but is not non finito either. Although the competition in 1560 for the Neptune fountain was mainly between the two more established sculptors, Bartolomeo Ammanati and Cellini, Danti also tried to prove his worth by competing. In 1561 he carved ''Honour Triumphs over Falsehood'', a statue 'in the round' - interesting to view from all angles. The marble for this statue was bought for him by his pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Sansovino
Andrea dal Monte Sansovino or Andrea Contucci del Monte San Savino (1529) was an Italian sculptor active during the High Renaissance. His pupils include Jacopo Sansovino (no relation). Biography He was the son of Domenico Contucci of Monte Sansovino, and was born at Monte San Savino near Arezzo, hence his name, which is usually softened to Sansovino. He was a pupil of Antonio del Pollaiuolo, and at first worked in the style of 15th-century Florence. His early works are the terra cotta altarpiece in Santa Chiara at Monte San Savino, and the marble reliefs of the ''Annunciation'', the ''Coronation of the Virgin'', a ''Pietà'', the ''Last Supper'', and various statuettes in the Corbinelli chapel of Santo Spirito at Florence, all executed between the years 1488 and 1491. From 1493 to 1500 Andrea worked in Portugal for the king, and some pieces of sculpture by him still exist in the monastic church of Coimbra. These early reliefs show strongly the influence of Donatello. His f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Antonio Amadeo
260px, Amadeo, Milan Cathedral 260px, The Colleoni Chapel in Bergamo. Giovanni Antonio Amadeo (c. 1447 – 27 or 28 August 1522) was an Italian Renaissance sculptor of the Early Renaissance, architect, and engineer. Biography Amadeo was born in Pavia. In 1470 he was commissioned by Bartolomeo Colleoni to complete his funerary chapel, the Cappella Colleoni in Bergamo, which had been begun by Guiniforte and Francesco Solari. Amadeo added polychrome decoration and many sculptures in the ancient style including medallions, small columns, busts, reliefs of "Histories from the Old Testament" and "Histories of Hercules". Amadeo also designed the funerary monument to Medea Colleoni, which was intended for the church of Santa Maria della Basella in Urgnano. The condottiero's tomb was realized in collaboration with other artists, with Amadeo providing the reliefs of the lower sarcophagus and of the smaller upper sarcophagus, as well seven statues of the Virtues. Amadeo was also commiss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pietro Lombardo
Monument of the Doge Pietro Mocenigo 1481 :''Pietro Lombardo is also the Italian version of the name of the theologian Peter Lombard.'' Pietro Lombardo (1435–1515) was an Italian Renaissance sculptor and architect; born in Carona (Ticino), he was the father of Tullio Lombardo and Antonio Lombardo. ''''. Web. 18 Jun. 2011. In the late 15th century, Pietro Lombardo sculpted many Venetian tombs with the help of his sons. These tombs included those of |
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