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 TWO
 

THE EARLY RENAISSANCE IN ITALY


SCULPTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20

ARCHITECTURE - Part 1, Part 2

PAINTING - Part 1

ARCHITECTURE - Part 1

SCULPTURE - 1,
2, 3, 4, 5, 6, 7, 8

PAINTING - Part 1
 
 

Sculpture


BENEDEDETTO DA MAIANO.
 


Benedetto da Maiano

Benedetto da Maiano, (born 1442, Maiano, near Fiesole [Italy]—died May 24, 1497, Florence), early Renaissance sculptor, whose work is characterized by its decorative elegance and realistic detail.

He was greatly influenced by the Florentine sculptor Antonio Rossellino. His earliest surviving work is the shrine of S. Savino (1468–72) in the Faenza cathedral. Between 1470 and 1475 he was engaged on the altar of Sta. Fina in the Collegiata at S. Gimignano, in a chapel designed by his elder brother Giuliano (1468) and decorated with frescoes by Domenico Ghirlandaio. The connection between Benedetto and Ghirlandaio is reflected in the careful realism of the five narrative reliefs in Benedetto’s masterpiece, the pulpit in Sta. Croce in Florence (1472–75). A bust of Pietro Mellini (1474), by whom the pulpit was commissioned, reveals the same accumulation of naturalistic detail and interest in physiognomics as is found in the portraits of Ghirlandaio.

Between 1480 and 1483 Benedetto sculpted a lavabo and lunettes of the Evangelists for the Basilica of the Holy House in Loreto. Later, Benedetto was employed on two major works for the church of Monteoliveto (S. Anna dei Lombardi) in Naples: the tomb of Mary of Aragon (d. 1470), begun by Rossellino, and an altarpiece of the Annunciation (1489). At roughly the same time, he was employed by the Florentine banker Filippo Strozzi, of whom he made a marble bust (from a terra-cotta model that some consider superior) and whose tomb in Sta. Maria Novella, Florence, he completed after 1491.

Benedetto’s work depends for its effect less on invention and originality than on unfailing taste and an exceptionally high level of technical skill. The naturalism of his male portrait busts is in marked contrast to his delicate, idealized busts of women. But both types show his virtuosity in the handling of highly polished stone to achieve a jewel-like play of light on surfaces.


Encyclopædia Britannica








Benedetto da Maiano.
St Sebastian.
1490s.
Marble.
Misericordia, Florence

 

 


Benedetto da Maiano. Madonna and Child

 


Benedetto da Maiano. Tomb Altar of St Fina
1477
Marble
Chapel of St Fina, Collegiata, San Gimignano


Benedetto da Maiano. Altarpiece of the Annunciation
before 1489
Marble
Mastrogiudici Chapel, Sant'Anna dei Lombardi, Naples


 


Benedetto da Maiano. Altarpiece of the Annunciation (detail)
before 1489
Marble
Mastrogiudici Chapel, Sant'Anna dei Lombardi, Naples


 


Benedetto da Maiano. Altarpiece of the Annunciation (detail)
before 1489
Marble
Mastrogiudici Chapel, Sant'Anna dei Lombardi, Naples



Benedetto da Maiano. Madonna and Child
1487-1502
Marble
Strozzi Chapel, Santa Maria Novella, Florence





Benedetto da Maiano. Madonna and Child

 
 

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