The Early Renaissance





(Renaissance  Art Map)








 




Andrea Bregno


Pietro Lombardo



See also COLLECTION:


Pinturicchio


 

 
 
 


Pinturicchio


born c. 1454, Perugia, Romagna [Italy]
died Dec. 11, 1513, Siena, republic of Siena


original name Bernardino Di Betto Di Biago early Italian Renaissance painter known for his highly decorative frescoes.

By 1481 Pinturicchio was associated with the Umbrian artist Perugino, whose influence on him was to be permanent. It is generally agreed that he assisted Perugino on some of the frescoes (“Journey of Moses” and the “Baptism of Christ”) in the Sistine Chapel in the Vatican (1481/82). In the 1480s he workedin the Bufalini Chapel in Santa Maria in Aracoeli and in Santa Maria del Popolo (both in Rome).

Pinturicchio's most important work of this period was the decoration of the suite of six rooms in the Vatican known as the Borgia Apartments for Pope Alexander VI between 1492 and 1494. In these frescoes he retains Perugino's figure types but lacks his clarity of conception. Instead, Pinturicchio relies on brilliant, often jarring colours, gilding, and ancient Roman ornamental motifs.

Pinturicchio's last major works were the 10 scenes from the life of Pope Pius II painted (1503–08) in fresco in the Piccolomini Library of Siena Cathedral. In these, space, colour, and detail are handled with a crisp proficiency that may have influenced Raphael.

 
 
        
Andrea (di Cristoforo) Bregno

(b Osteno, nr Lugano, 1418; d Rome, Sept 1503).

Italian architect and sculptor. Nothing is known of Bregno’s activity until his arrival in Rome in the 1460s, although his early works betray a Lombard training. During the pontificate of Sixtus IV he became the most popular and prolific sculptor of his day, with a large and well-organized bottega. He worked mainly on the decoration of tombs of prelates and dignitaries of the papal court. Bregno became famous in his lifetime and was mentioned, together with Verrocchio, by Giovanni Santi in La vita e le geste di Federico di Montefeltro duca d’Urbino, written between 1484 and 1487. The writer of a funeral epitaph actually compared him with Polykleitos. Bregno’s work is characterized by great refinement and technical skill. Although he was often not particularly inventive, he was certainly a fine sculptor of grotesques and other forms of ornamentation. He soon fell under the influence of Tuscan models, probably as a result of his contact with Mino da Fiesole, with whom he worked in Rome. There his style became more classical and its design more compact, with precise references to antique sculpture: documents show that he possessed a collection of antique objects recovered from excavations. He was also a friend of Platina, who held him in high esteem, as he wrote in a letter to Lorenzo the Magnificent.


Piccolomini Altar

1503
Marble
Duomo, Siena

 

Cantoria

1480s
Marble
Cappella Sistina, Vatican
 

Gateway

1480s
Marble
Cappella Sistina, Vatican
 
 

Monument of Cardinal Nicola de Cusa

Marble
S. Pietro in Vincoli, Rome
 
 
 

                      


Pietro Lombardo
[Pietro Solari]

(b Carona, Lombardy, c. 1435; d Venice, June 1515).

Sculptor and architect. He is first documented in Bologna, where he rented a workshop at S Petronio between July 1462 and May 1463, presumably to work on some commission for the cathedral, perhaps the Rossi Chapel chancel (Beck, 1968). By 1464 he and his family had moved to Padua, where his most important work was the wall tomb of Doge Antonio Roselli in S Antonio (Il Santo), which he designed in early 1464 and finished by 8 April 1467 (Moschetti, 1913, 1914). The Roselli tomb introduced the 15th-century Florentine humanist tomb type into the region and marks the beginning of true Renaissance sculpture in the Veneto. Its derivation from the Carlo Marsuppini monument in Santa Croce, Florence, by Desiderio da Settignano suggests that Pietro visited Florence during his sojourn in Bologna. Pietro interpreted the Florentine model in a way that became characteristic of later Venetian tombs. He transformed it into a more heavily decorated and imposing tomb through the addition of a high base, monumental flanking pilasters, long decorative relief swags and an ornate cornice. At this date he also completed some architectural projects in Padua and Vicenza.

 


Allegorical Figure
c. 1485

 


Madonna and Child
c. 1475


Philoctetes on the Island of Lemnos

 
         

Monument to Jacopo Marcello

Marble
Santa Maria Gloriosa dei Frari, Venice
 

 


Monument to Generosa Orsini

c. 1500
Marble
Santa Maria Gloriosa dei Frari, Venice
 

  


Monument of Pietro Mocenigo

1476-81
Istrian stone and marble
Basilica dei Santi Giovanni e Paolo, Venice
 

Monument of Pietro Mocenigo
(detail)
1476-81
Marble
Basilica dei Santi Giovanni e Paolo, Venice
 
 

 

 
Angel

c. 1474
Marble
San Giobbe, Venice
 


See also COLLECTION:


Pinturicchio


 

 

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