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 THREE
 

THE HIGH RENAISSANCE IN ITALY
 

Leonardo da Vinci
Donato Bramante
Michelangelo
Raphael, Giorgione, Titian
Andrea Sansovino
Giovanni della Robbia
Baldassarre Peruzzi
 
 


Andrea Sansovino
 


Andrea Sansovino. Baptism of Christ
1502-05
Baptistry, Florence


Andrea Sansovino

Andrea Sansovino, original name Andrea Contucci (born c. 1467, Monte San Savino, Republic of Florence—died 1529, Monte San Savino), Italian architect and sculptor whose works reflect the transition from early to High Renaissance.

His earliest great work was the marble Altar of the Sacrament in S. Spirito, Florence, executed for the Corbinelli family between 1485 and 1490; the fineness of detail, high emotional pitch, and lively narrative quality seen in the altar are typical of his early style. After several years in Portugal, according to Vasari, the 16th-century biographer of Italian artists, Sansovino was again in Florence in 1502, when he began the marble group of the “Baptism of Christ,” now above the central door of the baptistery. The calm and dignified poses, the strong but controlled emotion, and the generalized beauty of the bodies mark this as one of the first works in the style of the High Renaissance.

In 1505 Sansovino went to Rome and was commissioned by Pope Julius II to execute the almost identical tombs of cardinals Ascanio Sforza and Girolamo Basso della Rovere in Sta. Maria del Popolo. These tombs, completed by 1509, were the most influential of all Sansovino’s innovations, with their adaptation of the triumphal-arch form and the novel sleeping attitude of the deceased cardinals. Sansovino’s last great charge was to supervise both the decoration of the Santa Casa (Holy House of the Virgin) and the construction of several buildings at Loreto. His marble relief of the “Annunciation” on the shrine there is a composition of great richness that still has some of the narrative charm of his very early work.

The influence of Sansovino’s suave and graceful style acted as a counterbalance to Michelangelo’s titanic and muscular sculpture throughout the 16th century. His most important follower was Jacopo Tatti, called Sansovino after his master.

Encyclopaedia Britannica
 

 

 


Andrea Sansovino. Baptism of Christ
1502-05
Marble, 282 and 260 cm with bases
Baptistry, Florence
 

 


Andrea Sansovino. Madonna and Child with St Anne
1512
Marble
Sant' Agostino, Rome

 


Andrea Sansovino. Annunciation
c. 1522
Marble
Santa Casa, Loreto

 


Andrea Sansovino. Monument of Ascanio Sforza
1505-07
Marble
Santa Maria del Popolo, Rome

 


Andrea Sansovino. Monument of Ascanio Sforza (detail)
1505-07
Marble
Santa Maria del Popolo, Rome

 


Andrea Sansovino. Tomb of Girolamo Basso della Rovere. (detail)
1505-07
Marble
Santa Maria del Popolo, Rome

 



Andrea Sansovino. Adoration of the Shepherds (detail)
1522
Marble
Santa Casa, Loreto


Andrea Sansovino. The Night and the Chariot of the Sun
1490s
Glazed terracotta, 58 x 90 cm
Villa Medicea, Poggio a Caiano


Andrea Sansovino. Altar front, Santo Spirito
 

 
 

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