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


Vecchietta
 

 


Vecchietta

(bapt Siena, 11 Aug 1410; d Siena, 6 June 1480).

Italian painter, sculptor, goldsmith and architect. He was formerly believed to have been born c. 1412 in the Tuscan town of Castiglione d’Orcia, but del Bravo has identified him with the Lorenzo di Pietro di Giovanni who was baptized in Siena in 1410. His name appears in a list of the members of the Siena painters’ guild in 1428. From the evidence of later works he is generally supposed to have been apprenticed to Sassetta, but his early work has not been identified. Between c. 1435 and 1439 he executed for Cardinal Branda Castiglione (1350–1443) a series of frescoes at Castiglione Olona, near Varese in Lombardy. He has been considered an assistant of MASOLINO DA PANICALE in this enterprise, but the scenes of the martyrdoms of SS Lawrence and Stephen in the apse of the Collegiata, below Masolino’s vault frescoes, show that Vecchietta’s closely packed compositional style was already fully formed. He also painted the frescoes (partially published by Bertelli) in the chapel of the Cardinal’s palace in the town, depicting the Evangelists (vault) and friezes of male and female saints (side walls). Although abraded and fragmentary, they nevertheless indicate the naturalistic effects of atmospheric lighting and foreshortening that, more than any other Sienese painter of his day, he had learnt from Masolino and the Florentine painters. In 1439, aided by Sano di Pietro, he painted the figures of a wooden Annunciation group (untraced) for the high altar of Siena Cathedral.

 

 

 

 


VecchiettaResurrection
1472
Bronze, 54,3 x 41,2 cm
Frick Collection, New York

 

 


Vecchietta.  Sepulchral Monument of Pietro Foscari
1480
Marble, bronze
Santa Maria del Popolo, Rome

 

 


Vecchietta.  Risen Christ
c. 1476
Bronze, height 183 cm
Chiesa dell'Ospedale della Scala, Siena

 

 


Vecchietta.  Altar of the Cathedral of Siena with bronze ciborium by Vecchietta.

 



Andrea Bregno

 

 


Andrea Bregno


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.

 

 

 


Andrea Bregno. The Apparition of St Michael to St Gregory
1469
Marble
San Gregorio Magno, Rome


Andrea Bregno. Monument of Cardinal Nicola de Cusa
Marble
San Pietro in Vincoli, Rome



Andrea Bregno. Piccolomini Altar
1503
Marble
Duomo, Siena


Andrea Bregno. Tomb of Cardinals Cristoforo and Domenico della Rovere
c. 1479
Marble
Santa Maria del Popolo, Rome


Andrea Bregno. Tomb of Cardinal Pietro Riario
1474-77
Marble, 650 x 341 cm
Santi Apostoli, Rome



Andrea Bregno. Cantoria
1480s
Marble
Cappella Sistina, Vatican




Andrea Bregno. Gateway
1480s
Marble
Cappella Sistina, Vatican




Andrea Bregno. Saint Andrew, 1491

 
 
 

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