Architects and
Sculptors Who Worked in Istrian Stone
BARTOLO, Nanni di
Italian sculptor (active 1419-51 in
Veneto)
Bon, Giovanni - (b. cca. 1355, Bergamo, d. cca. 1443,
Venezia)
Venetian sculptor and architect. With his
son, Bartolomeo, he ran the most successful Venetian sculpture workshop
of the period. Major work of the shop include the decoration of the Ca
d'Oro (1422-34) and the Porta della Carta (1438-42) of the Doges'
Palace. They epitomize the survival of the Gothic style in Venice into
the mid-Quattrocento. [Source:
http://gallery.euroweb.hu/bio/b/bon/giovanni/biograph.html]
LOMBARDO, Pietro -
(b. cca. 1435, Carona, d. 1515, Venezia)
Lombardo (or Lombardi), family of Italian
artists, the leading Venetian sculptors of their period: Pietro
(1435-1515) and his sons Tullio (1455-1532) and Antonio (1458-1516).
Pietro, who came from Lombardy, settled
in Venice in about 1467. He was an architect as well as a sculptor, and
his church of Santa Maria dei Miracoli (1481-89) on the sculptural
decoration of which he was assisted by his sons, has been called the
choisest jewel of the Renaissance work in Venice. Of his numerous tombs
in Venetian churches, the best known is that of Doge Pietro Mocenigo
(SS. Giovanni e Paolo, 1476-81). His style is distinguished by polished
mastery of marble cutting and an interest in the antique, features that
recur in the work of Tullio.
Tullio's most imposing work is the
Vendramin monument (1493) in SS. Giovanni e Paolo.
Antonio had less substance as an
independent artist. His work included mythological reliefs for Alfonso
d'Este. [Source:
http://www.kfki.hu/~arthp/bio/l/lombardo/pietro/biograph.html]
QUERCIA, Jacopo
della (b. cca. 1367, Quercia Grossa, d. 1438, Siena)
One of the earliest Italian Renaissance
sculptors, best remembered for his fountain for the public square of
Siena, the Fonte Gaia (1419; now in Palazzo Pubblico, Siena), which has
been replaced by a copy.
Born in La Quercia (now Madonna della
Quercia), his earliest known sculpture, the tomb (1406) of Ilaria del
Carretto in Lucca Cathedral, is entirely renaissance in conception and
execution. It is in the form of a Roman sarcophagus, with winged cherubs
bearing heavy garlands carved in extremely high relief around the sides.
The serene effigy of Ilaria lies on the lid, swathed in superbly carved
folds of drapery, her face radiant with peace.
A bronze relief, Zacharias in the Temple,
for the font of the baptistery of Siena Cathedral was completed in 1430.
His 15 biblical marble relief panels (begun 1425) in the portal of the
Church of San Petronio, Bologna, were left incomplete at his death, but
the Genesis scenes he sculpted for the portal are among his most
striking creations, in the bold simplicity of their compositions, the
sure handling of anatomy, and their effect of monumentality. These
panels, and Jacopo's other works, were a direct inspiration to
Michelangelo and other masters of the High Renaissance.
"Jacopo Della Quercia," Microsoft (R)
Encarta. Copyright (c) 1994 Microsoft Corporation. Copyright (c) 1994
Funk & Wagnall's Corporation. [Source:
http://gallery.euroweb.hu/bio/q/quercia/biograph.html] |