Giovanni Pisano(Italian: Giovanni Pisano) (c. 1250 – c. 1315) - Italian sculptor and architect. The son and student of Niccolò Pisano, one of the figures of the Proto-Renaissance, he became a much more famous sculptor than his father. Giovanni Pisano's style is more free and dynamic, he shows figures in motion and uses various means of dramatization, his sculptures are characterized by sharp turns and angular outlines.
Biography
Facade of the Cathedral in Siena
Giovanni Pisano was born in Pisa around 1245. In 1265-78. Giovanni worked with his father, and with his participation the pulpit for the city cathedral in Siena was created, as well as the fountain of Fonte Maggiore in Perugia. Pisano's first independent work was the sculptural decoration of the facade of the Pisa Baptistery (1278-84). For the first time in Tuscany, monumental sculpture was organically included in architectural design. The extraordinary liveliness of Pisan sculptures is the opposite of the calm serenity of his father's sculptures. Around 1270-1276 Pisano visited France. In most of his works, the influence of French Gothic is noticeable.
In 1285 Giovanni came to Siena, where from 1287 to 1296. served as the chief architect of the cathedral. Full of dynamics and drama, the figures of the sculptural composition of the façade of the cathedral testify to the significant influence of French Gothic sculpture on Pisano. Of all the Gothic Italian facades, the Siena Cathedral has the most luxurious sculptural decoration. Subsequently, it served as a model for the decoration of Gothic cathedrals in Central Italy. In 1299 Giovanni returned to Pisa, where he worked as an architect and sculptor on the construction of church buildings.
One of the greatest achievements of Giovanni Pisano is considered to be the pulpit for the Church of Sant'Andrea in Pistoia (1297-1301). The theme of the reliefs decorating the pulpit is also similar to those of Pisa. However, the faces of the characters are more expressive, their poses and gestures are more dramatic. The scenes “Crucifixion” and “Massacre of the Innocents” are particularly expressive. Giovanni Pisano is the author of numerous statues of Madonnas, prophets and saints. The most famous sculpture of the Madonna is in the altar of the Scrovegni Chapel (Capella del Arena) in Padua (c. 1305).
From 1302 to 1320 Giovanni Pisano worked on the pulpit intended for the Pisa Cathedral. After the fire of 1599, the department was dismantled (for the duration of repairs) and restored only in 1926. The remaining “extra” fragments are stored in several museums around the world. In 1313, Giovanni began work on the tomb of Empress Margaret of Luxembourg in Genoa (not completed). The last mention of Giovanni Pisano dates back to 1314, and he is believed to have died soon after.
Details Category: Fine arts and architecture of the Proto-Renaissance Published 09/15/2016 14:03 Views: 2144The art of the Proto-Renaissance is characterized by the desire of artists for a real reflection of reality, which is always filled with the feelings and experiences of people.
Artists of the Proto-Renaissance continued the traditions of Medieval art, which arose from the synthesis of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church.
Another important feature of proto-Renaissance art is the interest in the art of antiquity.
In architecture already in the XI-XIII centuries. signs of the Proto-Renaissance appeared, especially in Italian Tuscany. The architecture of the Proto-Renaissance is characterized by balance and calm, and the sculpture of this period is examples of late antique art with a strong emphasis on plasticity. The most prominent representatives of architecture and sculpture of this period were Arnolfo di Cambio, Niccolo and Giovanni Pisano.
The founder of the school of Italian sculpture was Niccolo Pisano.
Niccolo Pisano (about 1225-1278/1284)
Pio Fedi. Italian sculptor Niccolo Pisano
Niccolo Pisano is an Italian sculptor and architect. Born in Apulia. The details of his biography are little known. He lived and worked in Tuscany, and then moved to Lucca, a city in the Italian region of Tuscany. Later, the sculptor settled in Pisa, where his son Giovanni was born.
The first signed work of N. Pisano is the pulpit for the baptistery, for which he received an order around 1255. Among his assistants was Arnolfo di Cambio. This work is considered a masterpiece: in it Pisano managed to combine traditional subjects and motifs of the classical late Roman style.
As Vasari reports, Pisano studied Roman sculpture well from the time of Octavian Augustus, and its influence was evident in the pulpit of the Pisa Baptistery (an annex to the church or a separate building intended for baptism). The Baptistery of Pisano is a hexagonal structure made of white, rose-red and dark green marble. The pulpit rests on arches supported by tall columns. Its reliefs depict gospel scenes from the life of Christ: the Annunciation and Nativity, the Adoration of the Magi, the Bringing to the Temple, the Crucifixion, the Last Judgment. When working, Pisano used the technologies of ancient masters, but reinterpreted classical images in the Christian worldview.
N. Pisano. Baptistery pulpit in Pisa (detail)
Niccolò Pisano created a similar, but larger (octagonal) pulpit for the Siena Cathedral in 1265-1269. He was assisted in his work by his son Giovanni and students Arnoldo Donato and di Cambio. The reliefs of this pulpit contain even more figures depicted with great expression. Here Pisano created the tomb of St. Dominica for the church of the same name in Bologna (1264-1267).
The sculptor’s last work was a fountain to decorate the cathedral square in Perugia (1278), in the creation of which Niccolo’s son Giovanni also participated.
Pisano father and son. Fontana Maggiore
Niccolo Pisano built the Church of Santa Trinita in Florence (1258-1280) - an example of Italian Gothic style.
N. Pisano. Facade of the Church of Santa Trinita
The original and smaller complex was created by the Florentine nobleman John Gualbert in 1092. In the period after 1250, the complex was rebuilt in the Gothic style and expanded by the architect Niccolò Pisano.
Giovanni Pisano (around 1245/1250 - after 1320)
Italian sculptor and architect of the Proto-Renaissance era; son, student and assistant of Niccolo Pisano. Born in Pisa around 1245. In 1265-1278. worked with his father.
Pisano's first independent work was the sculptural decoration of the facade of the Pisa Baptistery, and this was an innovation: for the first time in Tuscany, sculpture was included in architectural design. Even then, the liveliness of Giovanni’s Pisa sculptural images was noted, which distinguished his work from his father’s sculptures.
D. Pisano. Sculptural decoration of the facade of the Pisa Baptistery
After visiting France in 1270-1276. The influence of French Gothic plastic art became noticeable in his works. Around 1284, Giovanni received an order to create a sculptural composition for the facade of the Siena Cathedral, and in 1290 he led the work on its construction and decoration.
D. Pisano. Facade of the Cathedral in Siena
Photo credit: Myrabella / Wikimedia Commons
The Siena Cathedral is distinguished by its luxurious sculptural decoration. In Siena, Giovanni was appointed to the position of chief architect of the cathedral. He later returned to Pisa and worked as an architect and church sculptor. In 1301 he completed work on the pulpit for the Church of Sant'Andrea in Pistoia, which is shaped like the pulpit created by his father. But Giovanni’s style of reliefs is characterized by greater freedom and ease; there is more movement and drama in the figures he created. Giovanni surpassed his father in fame.
Giovanni Pisano was born in Pisa between 1245 and 1250. A student and assistant of Niccolò Pisano, he became a much more famous sculptor than his famous father. Almost the same age as Giotto, Giovanni Pisano was the complete opposite of the wise restraint of his Florentine contemporary.
In 1265-78. Giovanni worked with his father, in particular, with his direct participation, the pulpit for the city cathedral in Siena was created, as well as the fountain of Fonte Maggiore in Perugia.
Giovanni's first independent work was the sculptural decoration of the facade of the Pisa Baptistery, on which he worked in 1278-84. For the first time in Tuscany, monumental sculpture was organically included in architectural design. The extraordinary liveliness of Pisan sculptural images is the complete opposite of the calm serenity of Niccolo Pisano's characters.
In 1285 Giovanni moved to live in Siena, where from 1287 to 1296. served as the chief architect of the cathedral. Full of dynamics and acute drama, the figures of the sculptural composition of the façade of the cathedral (“Miriam”) testify to the significant influence of French Gothic sculpture on the art of G. Pisano (it is assumed that between 1268 and 1278 the sculptor visited France). Of all the Gothic Italian facades, the Siena Cathedral has the most luxurious sculptural decoration (Plato, Isaiah). Later, it was he who served as a model for the decoration of Gothic churches in Central Italy.
In 1299, after the work in Siena was completed, Giovanni returned to Pisa, where he worked as an architect and sculptor on the construction of church buildings.
Giovanni Pisano. The lower part of the façade of the Cathedral in Siena. 1284-99.
One of the greatest achievements of Giovanni Pisano's work is the pulpit for the Church of Sant'Andrea in Pistoia (1297-1301). In this master's creation, the influence of French Gothic sculpture was especially evident. Sant'Andrea is a small Romanesque church; perhaps that is why the sculptor chose the hexagonal shape - the same shape his father chose forty years ago for the pulpit of the Pisa Baptistery. The theme of the reliefs decorating the pulpit is also similar to those of Pisa.
Giovanni Pisano. Pulpit of the Church of Sant'Andrea in Pistoia. Marble. Finished in 1301.
However, Giovanni's style is characterized by greater freedom and ease, greater dynamics; his images are imbued with passionate emotional intensity and spiritual power. The complex multi-figured reliefs are engulfed in impetuous movement, as if they are trying to break out of the stone. The characters' faces are expressive, their poses and gestures are full of drama. The scenes “Crucifixion” and “Massacre of the Innocents” are particularly expressive. In the latter, emotionality and drama reach their apogee. People, animals, draperies, landscape elements - everything was mixed in some bizarre, unusual configurations. We will not find such a frank “riot” of movements and feelings in the master’s subsequent works.
Giovanni Pisano is the author of numerous statues of Madonnas, prophets and saints. His sculptures are characterized by sharp turns and angular outlines. Following the French masters, he turned to the image of the Madonna with the Child in her arms, the most famous of which is in the altar of the Scrovegni Chapel (Capella del Arena) in Padua (c. 1305). The Heavenly Queen is overwhelmed by a strong spiritual experience; her stern, almost stern face with a sharp, straight profile is turned to the Savior, with whom she exchanges a long gaze.
Giovanni Pisano. Madonna. Padua, Cappella del Arena. Beginning of the 14th century
From 1302 to 1320 Giovanni Pisano worked on the pulpit intended for the Pisa Cathedral. After the fire of 1599, the department was dismantled (for the duration of repairs), but was restored again only in 1926. The reconstruction is considered not very successful. The remaining “extra” fragments are stored in several museums around the world. In this work, the master largely returns to classical motifs; the influence of French Gothic is noticeably weaker here (“Fortitude and Prudence,” “Hercules”). In 1313, Giovanni began work on the tomb of Empress Margaret of Luxembourg in Genoa (not completed).
Giovanni Pisano. Christmas. Relief of the pulpit of the Church of Sant Andrea in Pistoia. Marble. 1301
The last mention of Giovanni Pisano dates back to 1314; he is believed to have died shortly afterwards.
In compiling this material we used:
1. Popular art encyclopedia. M.: Soviet Encyclopedia, 1986; Encyclopedia for children. T. 7. Art. Part 1 / Chapter. ed. M. D. Aksenova. - M.: Avanta+, 2003.
2. Lazarev V.N. Origins of the Italian Renaissance. - T. 1-2. - M., 1956-59; Argan J.K. History of Italian art. - M., 2000; Danilova I.E. From the Middle Ages to the Renaissance. - M., 1975; Vasari G. Lives of famous sculptors and architects: Pisano, Ghiberti and others / Trans. with it. A. Venediktov, A. Gabrichevsky. - St. Petersburg: ABC-classics, 2006.
3. Online encyclopedia Around the World.
Biography
Facade of the Cathedral in Siena
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