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Andrea Pisano

From Wikipedia, the free encyclopedia
14th century Italian sculptor and architect
Not to be confused with the Olympic water polo playerAndrea Pisano or the Apulian sculptorNicola Pisano.
Andrea Pisano
Born1290 (1290)
Died1348 (aged 57–58)
Known forArchitecture, sculpture
Two panels from the south door ofFlorence Baptistery, 1330–36

Andrea Pisano (Pontedera 1290 – 1348Orvieto)[1][2] also known asAndrea da Pontedera, was anItaliansculptor andarchitect.

Biography

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Pisano initially learned the trade of agoldsmith.[3] He later became an apprentice ofMino di Giovanni, about 1300, and worked with him on the sculpture forSanta Maria della Spina atPisa and elsewhere. He produced his main works inFlorence. It is assumed thatGiotto was eventually more influential on his style than his earlier teacher.

He produced the first (now on the south side) of the three bronze doors of theBaptistery in Florence, preceding those ofLorenzo Ghiberti. He worked on this major project between 1330–1336. The door consists of a number of small quatrefoil panels, the lower eight containing single figures of the Virtues, and the rest scenes from the life ofJohn the Baptist.[4]

Pisano, while living in Florence, also produced many important works of marble sculpture, all of which show Giotto's influence. In 1340 he succeeded Giotto as Master of the Works ofFlorence's Cathedral.[1] There he produced a series of reliefs, possibly designed by his former teacher, including the double band of panel-reliefs which Pisano executed for thegreat campanile. The subjects of these are theFour Great Prophets, theSeven Virtues, theSeven Sacraments, theSeven Works of Mercy and theSeven Planets. Theduomo contains the most important works of Pisano in marble (now in its museum).

In 1347 he became Master of the Works atOrvieto Cathedral, which had already been designed and begun byLorenzo Maitani.[4][1] These and the cathedral's doors are Pisano's only surviving works. Pisano is known for contributing to freeingmodern art fromByzantine influence. He died in 1348.[1]

He had two sons,Nino and Tommaso.[4] Both eventually succeeded him as Master of the Works at Orvieto Cathedral.

Giorgio Vasari includes a biography of Andrea Pisano in hisLives.

Pisano's most famous apprentice was Andrea di Cione, better known asAndrea Orcagna. Another of his apprentices,Giovanni di Balduccio, executed the shrine ofSant'Eustorgio in Milan.[4]

Gallery

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  • Sculptures in the Museo dell'Opera del Duomo, Florence
  • Justitia from the south door of Florence Baptistery, 1330–36
    Justitia from the south door ofFlorence Baptistery, 1330–36
  • The Creation of Adam and Eve, 1334–43
    The Creation of Adam and Eve, 1334–43
  • The Sacrament of Extreme Unction, 1343–60
    The Sacrament of Extreme Unction, 1343–60
  • Geometry, c. 1343–60
    Geometry, c. 1343–60
  • Rhetoric, c. 1343–60
    Rhetoric, c. 1343–60
  • Architecture, 1348–50
    Architecture, 1348–50
  • Phidias (sculpture), 1348-50
    Phidias (sculpture), 1348-50
  • Navigation, c. 1343–60
    Navigation, c. 1343–60
  • Jabal (sheep herding), 1334–43
    Jabal (sheep herding), 1334–43
  • Daedalus, 1348–50
    Daedalus, 1348–50
  • Horse riding, 1348–50
    Horse riding, 1348–50
  • Santa Reparata, 1337–40
    Santa Reparata, 1337–40
  • King Salomon, 1337–41
    King Salomon, 1337–41
  • Sculptures from Santa Maria della Spina in Pisa
  • San Pietro
    San Pietro
  • San Giovanni
    San Giovanni
  • Madonna del Latte (copy)

References

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  1. ^abcdHuntley, G. Haydn (1976). "Pisano, Andrea". In William D. Halsey (ed.).Collier's Encyclopedia. Vol. 19. New York: Macmillan Educational Corporation. p. 82.
  2. ^Murray, P. & L. (1996).Dictionary of art and artists. Penguin Books.ISBN 0-14-051300-0.
  3. ^Herbermann, Charles, ed. (1913)."Andrea Pisano" .Catholic Encyclopedia. New York: Robert Appleton Company.
  4. ^abcdWikisource One or more of the preceding sentences incorporates text from a publication now in thepublic domainChisholm, Hugh, ed. (1911). "Pisano, Andrea".Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press. pp. 647–648.
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