Gothic Art








 

 

 Gothic Art Map
 
 Gothic Art
 
 Introduction Benedetto Antelami Taddeo Gaddi Vitale da Bologna
 Architecture in France Giovanni di Balduccio Giotto di Bondone Guariento d'Arpo
 Architecture in Germany Jacobello Dalle Masegne Pietro Lorenzetti Giusto de' Menabuoi
 Architecture in Italy Corenzo Maitani Ambrogio Lorenzetti Barnaba da Modena
 Architecture in England Andrea da Firenze Giovanni da Milano Melchior Broederlam
 Stained Glass Filippo Rusiti Gentile da Fabriano Nicolas de Bataille
 Arnolfo di Cambio Ferrer Bassa Pucelle Jean Bayeux Tapestry
 Nicola Pisano Pietro Cavallini Altichiera da Zevio Matthew Paris
 Giovanni Pisano Cimabue Tomasso da Modena Master Boucicaut
 Tino di Camaino Duccio di Buonisegna Traini Francesco Illuminated Manuscripts
 Andrea Pisano Simone Martini Giovannino de' Grassi Master Hohenfurt
 Claus Sluter Maso di Banco Roberto Oderisi Henri Belechose
 
 Exploration: Revelations (Art of the Apocalypse)
 
 Exploration: Gothic Era  (Gothic and Early Renaissance)
 

 


SCULPTURE
 



Benedetto Antelami

Giovanni di Balduccio

Jacobello Dalle Masegne

 
 

 

Benedetto Antelami
 
Italian sculptor, Parma school (active 1170-1230)

Italian sculptor and architect. After Wiligelmo and Nicholaus, Antelami was the last of the great northern Italian sculptors working in the cities of the central Po Valley in the 12th century. Although he is referred to in the inscriptions as a sculptor, it is probable that he was also an architect, and that he belonged originally, as his name implies, to the guild of civic builders known as the ‘Magistri Antelami’, active in the region of Como. He worked mainly in Parma and its surroundings, although his influence was widespread.

 


King David
1210-16
Stone
Cathedral, Borgo San Donnino

 

June
c. 1200
Stone
Baptistry, Parma

August
c. 1200
Marble
Baptistry, Parma

   

September
c. 1200
Stone
Baptistry, Parma

December
c. 1200
Stone
Baptistry, Parma

   


Deposition from the Cross
1178
Marble
Duomo, Parma

 

 
 

Giovanni di Balduccio

Italian sculptor, active 1318–49
               


 


Annunciation
before 1334
Marble
Santa Maria del Prato, San Casciano Val di Pesa

 


Shrine of St Peter Martyr
1335-39
Marble
S. Eustorgio, Milan


Giovanni Balducci

(b ?Pisa; fl 1317/18–49). Italian sculptor. He is first documented in 1317/18 in the cathedral workshop in Pisa, where he was being paid a modest daily wage. In 1349 he was asked, while living in Milan, to take charge of the cathedral works in Pisa, but he was still resident in Milan towards the end of 1349, and he may have died there soon afterwards. His style is known from four signed works, which have formed the basis for a reconstruction of his oeuvre: the tomb of Guarniero degli Antelminelli (c. 1327–8) in S Francesco, Sarzana; the pulpit in S Maria del Prato in San Casciano, near Florence; the shrine of St Peter Martyr (dated 1339) in S Eustorgio, Milan; and the architrave (1347) from the main portal of S Maria di Brera, Milan (fragments in Milan, Castello Sforzesco). Giovanni developed a distinctive, slightly mannered modelling style based on that of Giovanni Pisano, but he made no attempt to adopt the latter’s powerful plasticity and dramatic expressiveness. Through his work in Milan, he introduced into Lombardy the formal vocabulary of Tuscan Gothic sculpture, of the kind that had been developed by Nicola and Giovanni Pisano and by such Sienese sculptors of the early 14th century as Gano di Fazio and Tino di Camaino.
 


Madonna and Child
 c. 1332-1334

 

 

Charity, c. 1330
Samuel H. Kress Collection

 

Relief with Saint Peter Martyr and Three Donors
ca. 1340, Marble
The Cloisters Collection

 

 

 

 
Jacobello Dalle Masegne
 
Italian sculptor (d. 1409, active in Emilia)

 

 
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.

 

Altarpiece
Marble
Santa Maria Gloriosa dei Frari, Venice

 

 

 

 

Students, detail of the Tomb of Giovanni da Legnano
1383-86
Marble
San Domenico, Bologna

 

   

 

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