Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER THREE
 

GOTHIC ART
 

ARCHITECTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

SCULPTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

STAINED GLASS - Part 1, 2

PAINTING - Part 1, 2

 

SCULPTURE

 

Italy

 


TOMBS.


If Italian Gothic sculpture failed to emulate the vast sculptural programs of Northern Europe, it excelled in the field that we have called church furniture, such as pulpits, screens, shrines, and tombs. Perhaps the most remarkable of all tombs is the monument of Can Grande della Scala, the lord of Verona. A tall structure built out-of-doors next to the church of Sta. Maria Antica and now in the courtyard of the Castelvecchio, it consists of a vaulted canopy housing the sarcophagus and surmounted by a truncated pyramid which in turn supports an equestrian statue of the deceased (fig. 506).

The ruler, astride his richly caparisoned mount, is shown in full armor, sword in hand, as if he were standing on a windswept hill at the head of his troops
and, in a supreme display of self-confidence, he wears a broad grin. Clearly, this is no Christian Soldier, no crusading knight, no embodiment of the ideals of chivalry, but a frank glorification of power.

Can Grande, remembered today mainly as the friend and protector of Dante, was indeed an extraordinary figure. Although he held Verona as a fief from the German emperor, he styled himself "the Great Khan," thus asserting his claim to the absolute sovereignty of an Asiatic potentate. His free-standing equestrian statuea form of monument traditionally reserved for emperors (see fig. 281)conveys the same ambition in visual terms.







506. Equestrian Statue of Can Grande della Scala,
from his tomb.
1330.
Stone.
Museo di Castelvecchio, Verona

Giovanni di Balduccio



Giovanni di Balduccio  (c. 1290 – after 1339) was an Italian sculptor of the Medieval period. He was born in Pisa, and likely did not train directly with the famous Pisan sculptor Andrea Pisano. He travelled to Milan to help sculpt the arc of St. Peter Martyr now in the Portinari Chapel, in the Basilica of Sant'Eustorgio, work signed in 1339. He also worked on the portal of the church of the Brera in Milan. He also worked in San Casciano in Val di Pesa and in the monument of Guarniero in Sarzana.



Giovanni da Balduccio. Shrine of St Peter Martyr. 1335-39. Marble. S. Eustorgio, Milan



Giovanni da Balduccio. Annunciation
. before 1334. Marble. Santa Maria del Prato, San Casciano Val di Pesa



 


Agostino di Giovanni

Agostino di Giovanni  (fl Siena, 1310; d before 27 June 1347). Italian sculptor and architect. He is first documented in 1310 in Siena, when he married Lagina di Nese, who was possibly a sister of the sculptor Cellino di Nese of Pistoia. Their two sons Giovanni d’Agostino (b Siena, 1311; d ?1348) and Domenico both became sculptors and master builders, but Agostino seems to have been the most significant artist in the family.
 


Agostino di Giovanni, Monument to Bishop Guido Tarlati.
c.1330. Marble. Duomo, Arezzo


Agostino di Giovanni, Madonna col Bambino.
Berlino, Staatliche Museen



 

Tino da Camaino

Tino di Camaino (c. 1280 – c. 1337) was an Italian sculptor.

Born in Siena, the son of the architect Camaino di Crescentino, he was a pupil of Giovanni Pisano, whom he helped work on the façade of the Cathedral of Siena. Later Tino followed his master to Pisa, where in 1311 he became responsible for the work on the Cathedral. Four years later he executed the funerary monument of Emperor Henry VII; subsequently he executed similar works in Siena and Florence, including the famous tomb of the Bishop Orso at Santa Maria del Fiore and the tomb of Gastone della Torre in the museum of Santa Croce.

From 1323 he worked in Naples, under King Robert of Anjou. Again he executed several funerary monuments, including those of Catherine of Austria in San Lorenzo Maggiore and Queen Mary of Hungary in Santa Maria Donnaregina. Other works are in Badia Cava dei Tirreni  He died in Naples around 1337.

 


Tino di Camaino. Charity. c. 1321. Marble. Museo Bardini, Florence
Tino di Camaino. Charity. c. 1323. Marble. San Lorenzo Maggiore, Naples
Tino di Camaino. Madonna and Child. 1321. Marble. Museo Nazionale del Bargello, Florence

 


Tino di Camaino. Funeral Monument of Cardinal Petroni.
1318. Marble. Duomo, Siena
 


Tino di Camaino. Funeral Monument of Cardinal Petroni (detail). 1318. Marble. Duomo, Siena
 


Tino di Camaino. Tomb of Emperor Henry VII (detail). 1315. Marble. Camposanto, Pisa
 


Tino di Camaino. Tomb of Mary of Valois. 1331-33. Marble. Santa Chiara, Naples
Tino di Camaino. Tomb of Mary of Hungary, after 1235. Marble. Santa Maria Donna Regina, Naples
 


Tino di Camaino. Monument of Bishop Antonio degli Orsi. 1321. Marble. Duomo, Florence
 


Tino di Camaino. Monument of Bishop Antonio degli Orsi. (detail)
 


Tino di Camaino. Monument of Bishop Antonio degli Orsi. (detail)
 


Tino di Camaino. Monument of Bishop Antonio degli Orsi. (detail)
 


Tino di Camaino. Madonna and Child.

 
 

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