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Gothic Art
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SCULPTURE
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Tino di
Camaino
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Sculpture
The construction sites of the great cathedrals also became the most
important sculptural workshops, dedicated to the decoration of
facades, spires and. above all, portals. The mid-12th-century Portal
Royal of Chartres shows how closely and harmoniously the sculpted
figures conformed to the disposition of the architecture, without
any loss of expression or drama. Saint-Denis and Notre-Dame in Paris
became prototypes for composition and iconography, which were
complex and carefully worked out. Saints and episodes from the
Bible, often of apocalyptic inspiration, were displayed on these
great facades in coherent and hierarchical arrangements. Then, in
the early 13th century, in the north and south portals at Chartres,
the programme of the "heavenly kingdom" was developed as a full
integration of homage and celebration, with the deep colonnaded
porticos giving a full articulation to the order of Christ's Second
Coming. At Rheims and Amiens, the porticos are flattened back into
the modulations of the facade, and the figures stand out as
personalities that show expressive gestures. The drapery folds take
on an independent substance, implying a range of formal nuances and
emotions that contrasts with the repetitive components of the
architectural settings. By mid-century, in the transept portals of
Notre Dame, this variation becomes graceful and sinuous, seen in the
tympanum narratives of St Stephen and the Virgin. The compositions
have become connected to the meanings of the incidents. Funerary
carvings were a characteristic genre of 14th-century France. The
face of the gisant (recumbent figure on the tomb) was made in the
likeness of the deceased, and the pleurants (weepers)
represented the mourners at the funeral. Begun by Louis IX (St Louis) in
the 13th century for his own dynasty, these sculptures often imitated
the tomb of Philip III, made by Pierre de Chelles and Jean d'Arras
between 1298 and 1307. Towards the end of the 14th century, the
elegant linear style and increasing taste for realism reached its
peak with Claus Sluter (c. 1340-1405), "whose vivid and solemn
realism is embodied in his dynamic works of art for the Charterhouse
of Champmol. In Italy, the pulpits of Nicola Pisano (active c.
1258-1278) for the Baptistry of Pisa and Siena Cathedral already
showed the transition from the Roman heritage of gravitas towards
more integrated forms. In the case of his son Giovanni, these
betrayed a stay in France that had liberated his expressive talent
into rounded and full modelling. This was later displayed in his
statues for Siena Cathedral and the pulpits for the cathedrals of
Pistoia and Pisa. The Pisa school produced Giovanni di Balduccio,
who inspired the sculptors of Lombardy with new ideas, and
Tino di Camaino (c. 1285— 1337), who brought Gothic-sculpture to southern
Italy. Finally, Giotto's radical style of painting was to influence
many fellow sculptors, as shown by
Andrea Pisano (c. 1290-1349) in
the reliefs for the door of the Baptistry in Florence and in those
for the bell-tower of the cathedral. where he was capomaestro
from 1340 to 1343.
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 Tino di Camaino (1280-1337)
Grabmal Heinrichs VII.
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 Tino di Camaino (1280-1337)
Madonna and Child with Queen Sancia, Saints and Angels, c. 1335
Samuel H. Kress Collection |
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Tino di Camaino (1280-1337Madonna and Child,
1317
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 Tino di Camaino (1280-1337)
Il vescovo Antonio Orso, Firenze,
1321 |
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Tino di Camaino
(b Siena, c. 1280; d Naples,
1337).
Italian sculptor. He led an itinerant career,
working in Siena, Pisa, Florence and Naples for some of
the most powerful Guelph and Ghibelline patrons of the
day. The roots of his style lie in late 13th-century
Siena, but during his long stay in Ghibelline Pisa it
gradually grew nearer to that of Giovanni Pisano. Tino’s
return to Siena and the change in his political
affiliation in 1315 were accompanied by a new artistic
orientation, in which he drew inspiration from painting,
particularly the work of Simone Martini. This period of
artistic maturity extended also to his time in Florence
(1318–1323/4). He was the most important and inventive
sculptor of funerary monuments in Tuscany at this time,
and in this capacity he was summoned to Naples by the
House of Anjou, the leaders of the Guelph party in
Italy. Through his influence on local sculptors, the
innovations of Tuscan Gothic sculpture were spread
throughout southern Italy, and his influence there was
felt long after his death. His style is characterized by
powerful figures in which are united an impression of
substantial volume and geometric structure with a sense
of grace and a rhythmic flow of form.
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Tino di Camaino (1280-1337)
Tomba di Carlo di Calabria, 1333,
Napoli-Santa Chiara |
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 Tino di Camaino (1280-1337)
Tomba di Caterina d'Austria
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Tino di Camaino (1280-1337)
Allegory of Charity |
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 Tino di Camaino (1280-1337) Statue of Henry VII, Holy Roman Emperor, with his Counsellors,
1315 (marble) |
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Tino di Camaino (1280-1337) Virgin and Child upon the Seat of Wisdom,
1320 |
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 Tino di Camaino (1280-1337)
Tomba del Cardinale Petroni, Siena, 1317 |
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 Tino di Camaino (1280-1337),
Monumento funebre del Cardinal Petroni,
1318
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 Tino di Camaino (1280-1337),
tomb |
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 Tino di Camaino (1280-1337), tomb (detail) |
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 Tino di Camaino (1280-1337), tomb (detail) |
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Tino di Camaino (1280-1337) and Gagliardo Primario. Tomb of Mary
of Hungary, 1325. The front of the tomb is supported by angels and shows
the portraits of the sens of Mary and Charles II Angevin rulers liked to
be depicted with their descendants on their tombs
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