Biography
Facade of the Cathedral in Siena
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- (Giovanni Pisano) (b. circa 1245 50 died after 1314), Italian sculptor and architect of the Proto-Renaissance; see Pisano...
- (Pisano), the nickname of a number of Italian sculptors and architects of the XIII-XIV centuries. Niccolò (Nicola) Pisano (circa 1220 between 1278 1284), sculptor. One of the founders of the Proto-Renaissance. Experienced the influence of late Roman, southern Italian and ... ... Art Encyclopedia
Pisano- Giovanni Pisano. The lower part of the facade of the cathedral. Pisano (Pisano), the nickname of a number of Italian sculptors and architects of the 13th and 14th centuries. The most famous: Niccolo (about 1220 between 1278 1284), one of the founders of the Proto-Renaissance, the creator of plastic ... ... Illustrated Encyclopedic Dictionary
- (Pisano) the name of several medieval artists and artisans from Pisa: Niccolò Pisano Giovanni Pisano (son of the previous one) Andrea Pisano Bonanno Pisano Other personalities by the name of Pisano: Bernardo Pisano composer Leonardo ... ... Wikipedia
- (Pisano) a nickname for a number of Italian sculptors and architects of the 13th and 14th centuries. Niccolo (Nicola) P. (about 1220, Apulia, between 1278 and 1284, Tuscany), sculptor. One of the founders of the Proto-Renaissance. Experienced the influence of South Italian and ... ... Great Soviet Encyclopedia
Pisano, Giovanni- (Pisano, Giovanni) Ok. 1245 after 1317. Italian sculptor, son of Niccolo Pisano, one of the leading masters of the so-called. era of Dante and Giotto. Until his death, Niccolo Pisano (1278/1284) worked in his father's workshop, participated in the creation of ... ...
Pisano, Niccolo- (Pisano, Niccolo) Ok. 1215 1278/1284. Italian sculptor 2nd floor. XIII century., One of the leading masters of the so-called. era of Dante and Giotto, which became the beginning of a new stage in the history of Italian and European culture. Biographical information about Niccolo ... ... European Art: Painting. Sculpture. Graphics: Encyclopedia
- (Pisano, Giovanni) (c. 1245/1250 after 1320), Italian sculptor and architect of the proto-Renaissance era; son, student and assistant of Niccolò Pisano. Born in Pisa c. 1245. In 1265 1278 he worked with his father. Around 1270 1276 visited France; in his... ... Collier Encyclopedia
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Giunta Pisano or Giunta di Capitino (Italian: Giunta Pisano, documented from 1236 to 1266) was an Italian painter. Giunta Pisano's name. "Cross", detail. 1250 54 Bologna, c. San Domenico. The name Giunta di Capitino was found on a painted ... ... Wikipedia
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- From icon to painting. At the beginning of the journey. In 2 books. Book 1, Shvartsman Nadim Abramovich, Book 1. Franco-Gothic motifs and Byzantine roots of Italian painting. French Gothic temple architecture and sculpture was perceived in Italy with great reservations that ... Category: Painting, graphics, sculpture Series: Masterpieces of Painting Publisher:
Giovanni Pisano(Italian Giovanni Pisano) (c. 1250 - c. 1315) - Italian sculptor and architect. The son and pupil 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, a pulpit was created for the city cathedral in Siena, as well as the Fonte Maggiore fountain in Perugia. The first independent work of Pisano is a sculptural decoration of the facade of the Pisa Baptistery (1278-84). For the first time in Tuscany, monumental sculpture was organically incorporated into architectural design. The extraordinary liveliness of the 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 arrived in Siena, where from 1287 to 1296. served as chief architect of the cathedral. Full of dynamics and drama, the figures of the sculptural composition of the facade of the cathedral testify to the significant influence of French Gothic plastics on Pisano. Of all the Gothic Italian facades, the Siena Cathedral has the most luxurious sculptural decoration. Later, he served as a model for the decoration of the Gothic cathedrals of Central Italy. In 1299, Giovanni returned to Pisa, where he worked as an architect and sculptor in the construction of church buildings.
One of the greatest achievements of Giovanni Pisano is the pulpit for the church of Sant'Andrea in Pistoia (1297-1301). The theme of the reliefs decorating the pulpit is also similar to that of Pisa. However, the faces of the characters are more expressive, their postures and gestures are more dramatic. The scenes "Crucifixion" and "Massacre of the Innocents" are especially 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 (chapel del Arena) in Padua (c. 1305).
From 1302 to 1320 Giovanni Pisano worked on a pulpit destined for the Pisa Cathedral. After a fire in 1599, the pulpit was dismantled (during repairs) and restored only in 1926. The remaining “extra” fragments are kept in several museums around the world. In 1313, Giovanni began work on the gravestone of Empress Margaret of Luxembourg in Genoa (not finished). The last mention of Giovanni Pisano dates back to 1314, it is believed that he died shortly thereafter.
Niccolò (Nicola) Pisano Earlier than in architecture and painting, new artistic searches were outlined in sculpture, and above all in the Pisan school, the founder of which was Niccolò Pisano (circa 1220 - between 1278 and 1284). He was born in the south, in Puglia, but, while working in Pisa, he became so close to the city that he received the nickname Pisano, with which he entered the history of Italian art.
Pisano's early period. Roman tradition Niccolò Pisano spent the initial period of his activity in southern Italy, at the court of Emperor Frederick II of Hohenstaufen. It was there that he came into contact with the Roman tradition, which was imitated by the Apulian court masters. The earliest of Niccolo's works known to us, performed by him already in Pisa, where he founded his school, dates back to 1200 and testifies to the master's acquaintance with samples of the late Roman antique relief. The pulpit of the Pisa Baptistery is a monument of great importance in the development of Italian sculpture.
The Baptistery of Pisa. 1260 In 1260, Pisano completed in the baptistery of the Pisa Cathedral a marble pulpit covered with plot reliefs. It is a separate, independent building. Due to the crowding of relief figures, sculptural elements are hardly separated from architectural ones. The tribune of the pulpit is a hexagon, supported from below by six columns, of which three stand on the backs of lions, while the seventh, supporting the middle of the rostrum, is on a group of three human figures (a heretic, a sinner and an unbaptized), a vulture, a dog and a lion, holding between the front paws of a ram and a bull's head and an owl.
The Baptistery of Pisa. 1260. The capitals of the corner columns are interconnected by arches. Prophets and evangelists are carved on the corner fields formed by these arches, while allegorical figures of the six virtues are placed on the capitals themselves. The sides of the tribune are decorated with five reliefs depicting: the Annunciation, the Nativity of Christ, the Adoration of the Magi, the Bringing of the Infant Christ into the temple. Crucifixion and Last Judgment.
The Baptistery of Pisa opened a new era in the history of Italian and Western European sculpture. Pulpits like these, on which priests climbed stairs to deliver a sermon, were very common in Italian churches since the Middle Ages, and were a characteristic detail of church interiors. Sometimes they looked like balconies that adorned one of the walls, but for the most part they looked like separate structures resting on stone pillars, usually rectangular in shape. Italian pulpits were richly decorated with sculpture. On the balustrades were placed reliefs on scenes from the history of Christ, between which were placed the figures of the predecessors of Christianity - the Old Testament prophets and sibyls, and the figures of animals or crouched men - a symbol of defeated vices and evil - served as the foot for the supporting columns. This ancient symbolism, which is based on the idea of the atoning sacrifice of Christ, is also preserved in the pulpit of Niccolò Pisano. And at the same time, his reliefs produce a completely different impression than the work of his predecessors. In the reliefs of Niccolo Pisano, first of all, their earthly, secular character is striking. It seems that not the miracles of the gospel legend are presented here, but earthly events in which the characters are Roman patricians and matrons.
Reliefs of the department. Plots It is not immediately possible to make out what is depicted on the reliefs, since Pisano, following the medieval tradition, combined several plots in one composition. In the left corner, he depicted the Annunciation, in the central part - the Nativity of Christ: Mary rises on the couch, two maids wash the baby, and Saint Joseph is shown sitting at the bottom left. At first it may seem that a flock of sheep is approaching this group, but in fact it refers to the third episode - the Adoration of the Shepherds, where again you can see the baby Christ, this time lying in a manger.
Reliefs of the department. Allegorism The whole composition is based on an ideal hierarchy, the dominance of spiritual forces - allegories of virtues and prophets, above pagan symbols and natural forces - lions, from where a direct path leads to divine revelation, identified with the earthly life of Christ and ultimately leading to the Last Judgment. In the course of the development of this thought, each image acquires a complex meaning.
Allegory of Strength. Relief of the pulpit of the Baptistery in Pisa. 1260. Marble. A shade of spiritual illumination determines the appearance of the allegorical figures standing in the corners of the three-bladed arches, including the most famous of them - the allegory of the Force, appearing in the guise of a naked Hercules.
Allegory of Love. Relief of the pulpit of the Baptistery in Pisa. Despite the fact that in these reliefs the varieties characteristic of Byzantine art are preserved, the general consistency and character of the demanding bas-relief style speak of the revival of the plastics of antiquity.
Baptistery (Baptistery) in Pisa Between 1260 and 1264 he completed the dome of the Baptistery in Pisa, which had been started by the architect Diotisalvi. Pisano increased the height of the baptistery and crowned it with a system of two domes: on top of a hemispherical dome he placed a small one in the shape of a truncated cone.
Baptistery in Pisa. Reliefs The facade of the baptistery was decorated with sculptures by Niccolò's son Giovanni Pisano in 1277-1284.
Features of the creative manner of Niccolo Pisano The classical manner, which manifested itself in this work, does not disappear, but appears in other works by Pisano, but in a milder form. An example is the relief of the sarcophagus of St. Dominica (Church C. Domenico, Bologna) and the pulpit of the Siena Cathedral, executed in 1266 with the participation of his son Giovanni. Common motifs can be traced with the pulpit of the Pisan baptist, but there are also differences, consisting in a greater degree of luxury of ornamentation, and two more scenes from the life of the Savior are added: “Flight into Egypt” and “Massacre of the Innocents”. The realism of the execution of pathos and movement is characterized by the works of the sculptor. The main merit of Pisano is that he abandoned the Byzantine trend in architecture in favor of antiquity.
Features of the creative manner of Niccolo Pisano Perhaps in his youth, Niccolo Pisano was influenced by the classicizing late Romanesque art of Southern Italy. In any case, the influence of antiquity is noticeable in his works, especially in the early period of creativity. But unlike his southern Italian predecessors, Niccolo not only imitates ancient monuments, using individual techniques of ancient masters. The significance of his art lies in the fact that he departs from medieval asceticism, introduces features of sensual earthly beauty into the image, and gives materiality and corporality to forms. Marked with the stamp of a bright creative individuality, his works stand out sharply against the background of the late Romanesque plastics of Italy. Niccolò Pisano worked in Pisa (1260), Siena (1265–1268), Perugia (1278).
Siena Cathedral Pulpit From 1265 to 1269 Niccolò Pisano created a similar but larger octagonal pulpit for the Siena Cathedral with the help of his son Giovanni Pisano and Arnoldo's student Donato di Cambio. The reliefs of this pulpit contain more figures, whose movements seem to be more agitated and expressive. There is a strong influence of French Gothic art here; the artist probably visited France. Here the influence of antiquity is largely superseded by the influence of the Gothic. This evolution of the artist is natural, but his reform turned out to be premature, his undertakings did not have a direct continuation in Italian sculpture.
Giovanni Pisano (circa 1245 -1250 - after 1314), sculptor and architect, son and student of Niccolo Pisano, apparently worked in France around 1270 -1276, was influenced by French Gothic plastic. The sculptural works of Giovanni Pisano (statues on the facade of the Siena Cathedral, 1284-1299, the pulpit of the church of Sant'Andrea in Pistoia, completed in 1301), imbued with passionate emotional tension, are characterized by a combination of proto-Renaissance plastic searches with Gothic broken contours. His architectural work (the lower part of the facade of the Siena Cathedral, 1284 -1299) developed in line with the Gothic.
Apocalyptic Christ (Christ at the Last Judgment) Relief of the pulpit of the cathedral in Siena. 1265-68. Marble. Duomo, Siena
Tomb of St. Dominic. Bologna In the same years, together with Fra Guglielmo, Niccolò Pisano created the tomb of St. Dominica for the church of the same name in Bologna (1264 -1267).
Basilica of San Domenico In 1264, Niccolò commissioned an reliquary for the relics of Saint Dominic in the Basilica of San Domenico in Bologna. Pisano certainly designed the design for the ark, but Niccolò's contribution to translating the design into material was probably minimal.
Cancer of St. Dominic. N. Pisano Niccolò dell "Arca. Pieta (Arca di San Domenico)
Fountain Maggiore - Perugia, Umbria. Niccolo and Giovanni Pisano The last work of the master Niccolo was the fountain for decorating the cathedral square in Perugia (1278), in the creation of which his son Giovanni also participated. The great Pisano died around 1280. His main merit is the rejection of the Byzantine tradition in favor of the revival of the plastics of the ancient style.
Chair of Sant'Andrea in Pistoia. J. Pisano. 1301-11. One of the greatest achievements of the son of the famous Father Giovanni Pisano is the pulpit for the Church of Sant. Andrea in Pistoia (1297-1301). The theme of the reliefs decorating the pulpit is also similar to that of Pisa. However, the faces of the characters are more expressive, their postures and gestures are more dramatic. The scenes "Crucifixion" and "Massacre of the Innocents" are especially 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 (chapel del Arena) in Padua (c. 1305).
Chair of Sant'Andrea in Pistoia. reliefs. G. Pisano Isaiah (detail). 1285-97. Marble. Museum of the Opera del Duomo, Siena Maria Mois (Miriam). 1285-97. Marble. Museum of the Opera del Duomo, Siena Plato. AR. 1280. Stone. Duomo, Siena Sibyla. 1285-95. Marble. Museum of the Opera del Duomo, Siena Aggaea. 1285-95. Marble, height: 61 cm. Duomo, Siena
Madonna. G. Pisano Giovanni Pisano is the author of numerous statues of Madonnas, prophets and saints. His sculptures are characterized by sharp turns, 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 (chapel del Arena) in Padua (c. 1305).
Sculptures of the Madonna. Giovanni Pisano From left to right: Madonna and child. 1305-06. Marble, height: 129 cm. Scrovegni Chapel (Arena Chapel), Padua Madonna and Child. AR. 1299. Cat. Treasury, Duomo, Pisa Madonna and child. AR. 1280. Marble. Camposanto, Pisa
The last work of G. Pisano In 1313, Giovanni began work on the gravestone of Empress Margaret of Luxembourg in Genoa (not finished).
Contribution to the era of the Proto-Renaissance The son and student of Niccolo Pisano, one of the leaders of the Proto-Renaissance, Giovanni Pisano 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. Emotionality, inexhaustible fantasy, passion of the works of Giovanni Pisano cannot be explained only by imitation of beautiful examples. These qualities testify to his rich, ardent nature, to the peculiarities of his worldview. The work of Giovanni Pisano is a rare example of art that was ahead of its time and stretched threads into the future. It is no coincidence that his searches are similar to the experiments of the famous sculptor Michelangelo.
Giovanni Pisano was born in Pisa between 1245 and 1250 gg. Son Niccolo Pisano, his student and assistant, became a much more famous sculptor than his famous father.
In 1265-78. Giovanni worked with his father, in particular, with his direct participation, a pulpit was created for the city cathedral in Siena, as well as the Fonte Maggiore fountain in Perugia.
The first independent work of Giovanni is 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 incorporated into architectural design. The extraordinary liveliness of the Pisan sculptural images is the complete opposite of the calm serenity of the characters of Niccolò Pisano.
In 1285, Giovanni moved to live in Siena, where from 1287 to 1296. served as chief architect of the cathedral. Full of dynamics and sharp drama, the figures of the sculptural composition of the facade of the cathedral ( "Miriam") testify to the significant influence of French Gothic plastic on the art of Giovanni 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"). In the future, it was he who served as a model for the decoration of the Gothic temples of Central Italy.
Miriam. Giovanni Pisano 1285-97
Plato. Giovanni Pisano.
Around 1280
Isaiah. Giovanni Pisano.
1285-97
Moses. Giovanni Pisano
. 1285-97
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.
One of the greatest achievements of the work of Giovanni Pisano - pulpit for the church of Sant'Andrea in Pistoia (1297-1301 ). In this creation of the master, the influence of French Gothic plastic was especially pronounced. Sant'Andrea - a small Romanesque church; perhaps that is why the sculptor chose the shape of a hexagon - 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 that of Pisa. However, Giovanni's style is distinguished by greater freedom and ease, greater dynamics; his images are imbued with passionate emotional intensity and spiritual strength. The faces of the characters are expressive, the poses and gestures are full of drama. The scenes "Crucifixion" and "Massacre of the Innocents" are especially expressive. In the latter, emotionality and drama reach their climax. People, animals, draperies, landscape elements - everything is mixed up in some bizarre, unusual configurations. Such a frank "violence" of movements and feelings is no longer in the subsequent works of the master.
Pulpit of the Church of Sant'Andrea in Pistoia. Giovanni Pisano.
1301
Massacre of the innocents. Relief of the pulpit of the Church of Sant'Andrea in Pistoia. Giovanni Pisano.
1301
Giovanni Pisano is the author of numerous statues of Madonnas, prophets and saints. His sculptures are characterized by sharp turns, 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 (chapel del Arena) in Padua (c. 1305). 
Madonna with Child. Scrovegni Chapel (Cappella del Arena), Padua. Pisano Giovanni.
1305-06
From 1302 to 1320 gg. Giovanni Pisano worked on a pulpit destined for the Pisa Cathedral. After a fire in 1599, the pulpit was dismantled (during repairs), but it was rebuilt 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 gravestone of Empress Margaret of Luxembourg in Genoa (not finished).
Fragments of the gravestone of Margaret of Luxembourg. Giovanni Pisano.
Marble. 1313
The last mention of Giovanni Pisano refers to 1314.; he is believed to have died shortly thereafter.
1. * Mariam(Hebrew מירים, Miriam; in the Septuagint Μαριάμ, in the Vulgate Maria) - the daughter of Amram and Jochebed - Miriam the prophetess, the elder sister of Aaron and Moses.
Pisano, Giovanni) ca. 1245 - after 1317. Italian sculptor, son of Niccolo Pisano, one of the leading masters of the so-called. The Ages of Dante and Giotto. Until his death, Niccolò Pisano (1278/1284) worked in his father's workshop, participated in the creation of the sculptural decoration of the Niccolò Pisano pulpit in the Cathedral of Siena (1265-1268) and the Great Fountain in Perugia (1278). After the death of Niccolò Pisano, he headed his own workshop. He worked in Pisa (1280-1290 and 1302-1310), Siena (1280-1290), Pistoia (1300-1301), Padua (1302-1306) and other Italian cities. The creative path of Giovanni Pisano coincides with a dramatic and difficult period in the history of Italy, a fierce struggle for power in Italian cities - first between representatives of the nobility - the Ghibellines and the townspeople - the Guelphs, and then between the Guelphs split into two parties. In Florence, this struggle ended with the expulsion from the city in 1302 of the great Dante Alighieri and his supporters. Giovanni Pisano, just like his great contemporary Dante, was especially keenly aware of the dramatic pathos of this new era, which was alien to his predecessors - Niccolo Pisano and Arnolfo di Cambio. This, apparently, explains his interest in Gothic, which had already penetrated into Italy at that time, especially into its northern regions. One of the first remarkable works of Giovanni Pisano is a cycle of monumental, partly unfinished sculptures, made by him together with assistants for the facade of the cathedral in Siena in 1280-1290 (now - Siena, Cathedral Museum). Deliberately angular, depicted in complex, tense poses, draped with robes with deep folds breaking at sharp angles, permeated with a sharp, sometimes almost frantic movement, they are full of dramatic pathos and spirituality. The half-figures of the prophets for the Pisa baptistery (1280-1290s, Pisa, baptistery) made by Giovanni Pisano with assistants are also endowed with plastic power and pathos. Following Father Giovanni Pisano, he turned to such a favorite architectural and sculptural ensemble of his time as a church pulpit. In the pulpit of the church of Sant'Andrea in Pistoia (1300-1301), Giovanni Pisano, preserving the compositional principles of his father's Pisa pulpit - a hexagon decorated with reliefs, three-lobed arches with figures of prophets and sibyls, marble lions, on which three of the six columns supporting the pulpit rest, endows the sculptural elements of the pulpit with the intensity of plastic energy and the power of emotions. The majestic figures of the sibyls at the corners of the pulpit are depicted in complex, dynamic poses, shrouded in a waterfall of heavy, breaking folds. As if bending under the weight of the kneeling atlas, the reliefs of the pulpit are densely filled with intertwining figures (the Last Judgment), the roaring lions are full of rage, tormenting their prey, on which three of the six pillars of the pulpit rest. Expression of plastic language, dramatic pathos is even more characteristic of the later pulpit of the cathedral in Pisa (1302-1310). Several statues of the Madonna and Child are associated with the name of Giovanni Pisano. One of the earliest is the Madonna and Child, created by the master for the facade of the baptistery in Pisa (1284, now Pisa, Camposanto). The severity and grandeur of the image of the Madonna, the solemnity of the rhythm of large flowing folds, the monumental beginning are already combined here with an unusual motif - a fixed, expressive look that Mother and Child exchange. In the later works of the master - the Madonna and Child in the Arena Chapel, painted by Giotto (c. 1304-1306, Padua), and the lovely Madonna della Chintola (c. 1312, Prato, cathedral, chapel of the della Chintola) in the views exchanged between Maria and little Christ - tenderness and trust, in the statue from Prato the child gently touches the mother's head. At the same time, in these statues, to a much greater extent than in other works by Giovanni Pisano, elements of the Gothic style appear, which quite actively penetrated into Italy from other European countries. Among the most remarkable works of Giovanni Pisano is a fragment of the tombstone of Margaret of Brabant that has survived to this day (c. 1312, Genoa, Palazzo Bianco). In the image of a young woman rising from the dead there is a certain triumphal beginning, her strong-willed, beautiful face is full of excitement, a strong body outlined by tight-fitting clothes is pierced with a swift movement. In this last work, Giovanni Pisano, far more than his contemporaries, anticipates the style and spirit of Renaissance sculpture.
