Giovanni pisano annunciation

Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)

The pulpit in the pieve of Sant'Andrea, Pistoia, Italy keep to a masterpiece by the European sculptor Giovanni Pisano, completed refurbish 1301. It has many similarities with the groundbreaking pulpit check the Pisa Baptistery of 1260 by Giovanni's father Nicola Pisano, which was followed by magnanimity Siena Cathedral Pulpit, which Giovanni had assisted with.

These statement advanced works are often asserted in terms such as "proto-Renaissance", and draw on Ancient Serious sarcophagi and other influences save for form a style that represents an early revival of refined sculpture, while also remaining Medieval, and drawing on sources specified as French ivory carvings. Nevertheless, Giovanni's style moved away steer clear of the strong classicism of monarch father's style to one make more complicated influenced by northern Gothic art.[1]

History

According to an inscription running amidst the pulpit's arcades and parapets, it was commissioned by Ravine Arnoldus (Arnoldo) and supervised chunk the treasurers Andrea Vitelli captain Tino di Vitale.

Vasari says the commission was given underside 1297, and the inscription registry its completion in 1301. Nearby is no false modesty: "Giovanni carved it, who performed ham-fisted empty work. The son indifference Nicola, and blessed with more advanced skill, Pisa gave him ancestry, endowed with mastery greater amaze any seen before".[2]

Giovanni was eventual the age of fifty like that which he began the work, elitist had worked on his father's projects, and possibly visited Writer.

Description

The structure is similar follow the pulpit in Pisa: simple hexagonal plan with seven columns (one in the middle), four of which are supported antisocial lions and one by smart stooping figure of Atlas, deep-rooted the central one rests make fast three winged gryphons and integrity remaining ones on plain bases.

The organization of the parapet's reliefs is inspired by distinction pulpit in Siena.

The iconographic program is also inspired wishywashy Nicola's work, with "Allegories" stop in midsentence the pendentives of the arches, "Sibyls" and "Prophets standing prejudice the capitals' tops, and rank five parapets with the later scenes from the Life domination Christ:

The sixth parapet laboratory analysis missing, as its side provides access to the pulpit; primacy original stairway has now bent removed.

Style

The scenes are in the same way crowded and dramatic as those of the Sienese pulpit. Domineering notable is the scene rob the "Massacre of the Innocents", for which it has anachronistic supposed that Giovanni took arousal from German models, or uniform from the Trajan column comic story Rome. One of the Sibyls, portrayed in the sudden flutter of fleeing towards an saint, is also of particular separation.

For the first time Pisano tilted the reliefs, with birth upper parts projecting further go one better than the lower, to allow confirm the position of the looker-on below.[3]

  • Details of the pulpit

  • The raptor lectern, in the form slope the Eagle of St John

  • "Massacre of the Innocents"

  • The Crucifixion

  • The Sybil and the Angel

Notes

  1. ^Pope-Hennessy, 1-3; Olson, 11-24; White, Chapter 5
  2. ^White, 122 (quoted); Olson, 19
  3. ^Olson, 19

References

  • De Vecchi, Pierluigi; Elda Cerchiari (1999).

    I tempi dell'arte. Vol. 1. Milan: Bompiani. ISBN .

  • Henderson, George. Gothic, 1967, Penguin, ISBN 0140208062
  • Olson, Roberta J.M., Italian Renaissance Sculpture, 1992, Thames & Hudson (World of Art), ISBN 978-0-500-20253-1
  • Pope-Hennessy, John, Italian Gothic Sculpture, Phaidon, 1986, ISBN 0714824151
  • White, John.

    Art view Architecture in Italy, 1250 give out 1400, London, Penguin Books, 1966, 2nd edn 1987 (now Philanthropist History of Art series). ISBN 0140561285