Gothic Art



 Gothic Art Map
 Gothic Art
 Introduction Benedetto Antelami Taddeo Gaddi Vitale da Bologna
 Architecture in France Giovanni di Balduccio Giotto di Bondone Guariento d'Arpo
 Architecture in Germany Jacobello Dalle Masegne Pietro Lorenzetti Giusto de' Menabuoi
 Architecture in Italy Corenzo Maitani Ambrogio Lorenzetti Barnaba da Modena
 Architecture in England Andrea da Firenze Giovanni da Milano Melchior Broederlam
 Stained Glass Filippo Rusiti Gentile da Fabriano Nicolas de Bataille
 Arnolfo di Cambio Ferrer Bassa Pucelle Jean Bayeux Tapestry
 Nicola Pisano Pietro Cavallini Altichiera da Zevio Matthew Paris
 Giovanni Pisano Cimabue Tomasso da Modena Master Boucicaut
 Tino di Camaino Duccio di Buonisegna Traini Francesco Illuminated Manuscripts
 Andrea Pisano Simone Martini Giovannino de' Grassi Master Hohenfurt
 Claus Sluter Maso di Banco Roberto Oderisi Henri Belechose
 Exploration: Revelations (Art of the Apocalypse)
 Exploration: Gothic Era  (Gothic and Early Renaissance)



Tino di Camaino



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.



Tino di Camaino (1280-1337)



Tino di Camaino (1280-1337)
Madonna and Child with Queen Sancia, Saints and Angels, c. 1335
Samuel H. Kress Collection



Tino di Camaino (1280-1337

Madonna and Child, 1317



Tino di Camaino (1280-1337)
Il vescovo Antonio Orso, Firenze, 1321



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.

Tino di Camaino (1280-1337)

Tomba di Carlo di Calabria, 1333,
Napoli-Santa Chiara



Tino di Camaino (1280-1337)
Tomba di Caterina d'Austria



Tino di Camaino (1280-1337)
Allegory of Charity



Tino di Camaino (1280-1337)

Statue of Henry VII, Holy Roman Emperor, with his Counsellors,
 1315 (marble)






Tino di Camaino (1280-1337)

Virgin and Child upon the Seat of Wisdom, 1320






Tino di Camaino (1280-1337)
Tomba del Cardinale Petroni, Siena, 1317






Tino di Camaino (1280-1337), Monumento funebre del Cardinal Petroni, 1318


Tino di Camaino (1280-1337), tomb






Tino di Camaino (1280-1337), tomb (detail)






Tino di Camaino (1280-1337), tomb (detail)






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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