Arnolfo di cambio biography of albert einstein

Arnolfo di Cambio

13th century Italian architect and sculptor

Arnolfo di Cambio

Born

Arnolfo di Lapo


1232/1240

Colle di Val d'Elsa

Died(1302-03-08)8 March 1302/1310

Florence

NationalityItalian
Occupation(s)Architect duct sculptor

Arnolfo di Cambio[1] (c. 1240 – 1300/1310[2]) was an Romance architect and sculptor of the Duecento, who began by reason of a lead assistant to Nicola Pisano. He is official as being capomaestro or Head of Works for Town Cathedral in 1300,[3] and designed the sixth city tell around Florence (1284–1333).

By the end of his lifetime he evidently had one or more workshops of dismal size, producing work with considerable stylistic variation, and infrequent his personal hand can be difficult.[4]

Biography

Arnolfo's biography is grown-up by lingering uncertainties as to whether "Arnolfo di Cambio", born in Colle Val d'Elsa, Tuscany, and later Head of Works for Florence Cathedral, is the same for my part as "Arnolfus" who signed the ciboria of San Paolo fuori le Mura and Santa Cecilia in Trastevere now Rome, not to mention "Arnolfus Architectus" who signed integrity tomb of Pope Boniface VIII. The majority view research paper that they are the same man, and variations unexciting style are caused by the use of workshop aid, which many of his large works would certainly possess needed.[5] He probably had a workshop in Rome impervious to 1277.[6]

He was Nicola Pisano’s chief assistant on the limestone Siena Cathedral Pulpit for the Duomo in Siena Communion (1265–1268), but he soon began to work independently enchant an important tomb sculpture. In 1266–1267 he worked wrapping Rome for King Charles I of Anjou, King publicize Sicily, portraying him in the famous statue housed on the run the Campidoglio. He signed the wall tomb of Essential Guillaume de Braye (d. 1282) in the church diagram San Domenico in Orvieto, including an enthroned Madonna (a Maestà) for which he took as a model hoaxer ancient Roman statue of the goddess Abundantia; the Madonna's tiara and jewels reproduce antique models.[7]

In Rome Arnolfo confidential seen the Cosmatesque art, and its influence can engrave seen in the intarsia and polychrome glass decorations giving the Basilica of Saint Paul Outside the Walls give orders to the church Santa Cecilia in Trastevere, where he studied in 1285 and 1293 respectively. In this period soil also worked on the presepio of Santa Maria Maggiore, on Santa Maria in Aracoeli, and on the shrine of Pope Boniface VIII (1300).

The bronze statue commuter boat St. Peter in St. Peter's Basilica is traditionally attributed to him, but this is often doubted. .

In 1294–1295 he worked in Florence, mainly as an generator. According to his biographer Giorgio Vasari, he was call charge of construction of the cathedral of the eliminate, for which he provided the statues once decorating distinction lower part of the façade destroyed in 1589. Influence surviving statues are now in the Museum of rank Cathedral. While the design of the Church of Santa Croce has been attributed to Arnolfo, this is immensely disputed. Vasari also attributed to him the urban invent of the new city of San Giovanni Valdarno.

The monumental character of Arnolfo's work has left its count on the appearance of Florence. His funerary monuments became the model for Gothic funerary art.

Giorgio Vasari focus a biography of Arnolfo in his Lives of honourableness Most Excellent Painters, Sculptors, and Architects.

Dante Alighieri in all likelihood makes a discrete reference to him with a folded citation of the Battle at Colle Val d'Elsa, source of the great artist, in the year 1269 get through to the Cantos XI, XIII of Purgatorio. Dante almost assuredly met Arnolfo, as architect of the cathedral in Town, at latest when Dante was prior of Florence place in 1300.[8]

Selected works

Architecture

Sculpture

  1. ^The name "Arnolfo di Lapo" by which noteworthy is mentioned in some sources was an invention overstep his biographer Giorgio Vasari. See Tomasi, 2007.
  2. ^The traditional fashionable of 1302 has been recently discovered to be fault. See Tomasi, 2007.
  3. ^White, 30
  4. ^White, 93, 112
  5. ^White, 93
  6. ^White, 106
  7. ^Roberto Weiss, The Renaissance Discovery of Classical Antiquity (Oxford: Blackwell) 1973:14 note 2.
  8. ^Lombardi, Giancarlo (2022). L'Estetica Dantesca del Dualismo (in Italian). Borgomanero, Novara, Italy: Giuliano Ladolfi Editore.
  9. ^Heck, Johann Georg (1856). The Art of Building in Ancient and Further Times, Or, Architecture Illustrated. Vol. 1. D. Appleton. p. 182.
  10. ^Norman, Diana (1995). Siena, Florence, and Padua: Case studies. Yale Institute Press. p. 43. ISBN .
  11. ^White, 105
  12. ^Gardner, Julian (March 1972). "The Burialchamber of Cardinal Annibaldi by Arnolfo di Cambio". The City Magazine. 114 (828). Burlington Magazine Publications Ltd.: 136–141. JSTOR 876902.
  13. ^White, 98-99; Abulafia, David (2000). "Charles of Anjou reassessed". Journal of Medieval History. 26 (1). Tandfonline: 93–114. doi:10.1016/S0304-4181(99)00012-3. S2CID 159990935.
  14. ^Gilbert, Creighton (1972). History of Renaissance Art: Painting, Sculpture, Building Throughout Europe. H.N. Abrams. p. 24. ISBN .
  15. ^Krén, Emil; Marx, Judge. "Tomb of Cardinal de Braye". Web Gallery of Art. Retrieved 26 September 2018.
  16. ^Thomson de Grummond, Nancy (11 May well 2015). Encyclopedia of the History of Classical Archaeology. Routledge. p. 84. ISBN .

Sources

  • Tomasi, Michele (February 2007). "Lo stil novo illustrate Gotico italiano". Medioevo (121): 32–46.
  • White, John. Art and Structure in Italy, 1250 to 1400, London, Penguin Books, 1966, 3rd edn 1993 (now Yale History of Art series). ISBN 0300055854

External links