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Dictionary of Art
and Artists

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CHAPTER THREE
GOTHIC ART
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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
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SCULPTURE
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Italy
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Andrea Pisano
Pisano
Andrea, also called Andrea da Pontedera (born c. 1270–90,
Pontedera, near Pisa—died c. 1348–49, Orvieto, Papal States), one of the
most important Italian sculptors of the 14th century whose chief works
were executed in Florence, where he came under the influence of Giotto.
Andrea is recorded as the author of the earliest of three bronze doors
for the baptistery of the cathedral of Florence, which, completed in
1336, has 20 quatrefoil panels with scenes from the life of St. John the
Baptist and 8 with figures of the virtues. The figures are gilded and
set against a smooth bronze surface.
On the death of Giotto, in 1337, Andrea succeeded him as the chief
architect in charge of the construction of the campanile (bell tower) of
the cathedral of Florence, to which he added two stories adorned with
panel reliefs. Most of the reliefs on the lower part, depicting the
arts, sciences, and occupations of man and three scenes from Genesis,
are generally attributed to Andrea and his studio. Statues in niches of
the campanile (originally placed above the reliefs now in the cathedral
museum), representing David and Solomon and two sibyls, have been
attributed to Andrea, but this has been disputed. Two statuettes of
Christ and Saint Reparata also in the cathedral’s museum are generally
considered his.
The iconography of the baptistery door was indebted to the mosaics on
the interior of the building and to Giotto’s frescoes in Sta. Croce. The
composition of the door was influenced by that of the bronze doors of
the cathedral of Pisa. Andrea’s style is marked by a simplicity,
restraint, and skillful arrangement of figures that places him in the
front rank of the sculptors of the period.
He is last recorded as superintending architect of the cathedral of
Orvieto, in which office his son Nino succeeded him.
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Andrea Pisano. South Doors:
Life of Saint John the Baptist, Florence Baptistry.
1330-36
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Andrea Pisano. Reliefs, South Doors:
Life of Saint John the Baptist, Florence Baptistry.
1330-36, gilded bronze, 49.7 x 43.2 cm
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Scenes on the south doors (Andrea Pisano)
1. The
angel announces to Zachariah. 2. Zachariah is struck mute
3. Visitation 4. Birth of the Baptist.
5.
Zachariah writes the boy's name. 6. St John as boy in the
desert.
7. He preaches to the Pharisees. 8. He
announces Christ.
9. Baptism of his disciples. 10.
Baptism of Jesus.
11. St John reprimands Herod Antipas.
12. Incarceration of St. John.
13. The disciples
visit St. John. 14. The disciples visit Jesus.
15.
Dance of Salome. 16. Decapitation of St. John.
17.
Presentation of St John's head to Herod Antipas. 18.
Salome takes the head to Herodias
19. Transport of the
body of St. John. 20. Burial.
A. Hope B.
Faith C. Charity D. Humility
E. Fortitude
F. Temperance G. Justice H. Prudence
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Angel announces to Zachariah
Zachariah is struck mute
St. John reprimands Herod Antipas
Incarceration of St. John
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Visitation
Birth of the Baptist
Disciples visit St. John
Disciples visit Jesus
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Zachariah writes the boy's name
St. John as boy in desert
Dance of Salome
Decapitation of St. John
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Preaching to the Pharisees
St. John announces Christ
Presentation of St. John's
head to Herod Antipas
Salome takes head
to Herodias
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Baptism of his disciples
Baptism of Jesus
Transport of St. John's body
Burial of St. John
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Hope
Faith
Charity
Humility
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Fortitude and Temperance
Justice and Prudence
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Andrea Pisano. Madonna del latte
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Andrea Pisano. Santa Reparata. 1340s. Marble
Museo dell'Opera del Duomo, Florence
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The International Style in the South
During the later fourteenth century, northern Italy proved
particularly hospitable to artistic influences from across the Alps, not
only in architecture (see Milan Cathedral, fig.
482),
but in sculpture as well. The Apostles atop the
choir screen of St. Mark's in Venice (fig.
507),
carved by Jacobello and Pierpaolo dalle Masegne
about 1394, reflect the
trend toward greater realism and the renewed interest in weight and
volume that culminated in the work of Claus Sluter, even though these
qualities are not yet fully developed here. Both figures betray a marked
"Gothic sway" as well. Yet their kinship with Benedetto Antelami's
King David (fig. 430)
of a century earlier is equally apparent. With the Apostles from
St. Mark's, then, we are on the threshold of the "International Style,"
which flourished throughout western Europe about
1400 to 1420.
Jacobello and Pierpaolo dalle Masegne
see also:
Jacobello Dalle
Masegne
Italian family of sculptors and architects.
Jacobello [Giacomello; Jacobellus; Jacomelo] dalle Masegne (
fl from 1383; d after 1409) and his brother
Pierpaolo dalle Masegne ( fl from 1383; d c. 1403) were the
sons of Antonio dalle Masegne, a stonemason in Venice. They
usually undertook and signed their major commissions
together, as was the common practice in Venice for family
partnerships. However, although there is no documentary
evidence to prove it, it is possible to recognize their
individual styles in separate sections of their
collaborative works.
50 7.
JACOBELLO and PIERPAOLO DALLE MASEGNE.
Apostles, on the choir screen, c. 1394.
Marble, height ń. 53"
(134.6
cm). St. Mark's, Venice
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Jacobello Dalle Masegne.
Altarpiece. Marble, 385 x 313 cm. Santa Maria Gloriosa dei Frari, Venice
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Students, detail of the Tomb of
Giovanni da Legnano. 1383-86. Marble, 63,3 x 76,5 cm. San Domenico,
Bologna
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