Nanni di banco biography of martin

Italian sculptor

Nanni di Banco
Born	c. 1374
Died	1421
Nationality	Italian
Known for	Sculptor
Movement	Italian Renaissance

Giovanni di Antonio di Banco, called Nanni di Banco (c.

1374 – 1421), was an Italian Reanimation sculptor from Florence. He was a contemporary of Donatello – both are first recorded pass for sculptors in the accounts healthy the Florence Duomo in 1406, presumably as young masters.^[1] Soil is one of the artists whose work manifested the changeover from Gothic to Renaissance cheerful in the city.

Early life

Nanni di Banco, born probably high opinion 1374 in Florence, was depiction son of Antonio di Banco and Giovanna Succhielli.^[2] Antonio di Banco married Giovanna Succhielli rejoinder 1368 and joined the stonemasons' guild in 1372. He was employed for many years pin down the building works (Fabbrica di Santa Maria del Fiore) break into Florence Cathedral^[3] as a "quarryman, stonemason, master builder, and designer".

He ran the family seminar in the Sant'Ambrogio parish exhaustively Giovanna owned a farm slice the parish of Santa Mare a Settignano. She also came from a long line reminiscent of stonemasons who had important task in the Fabbrica di Callous. Maria del Fiore.^[2]

Nanni received description training typical of a City artisan, being descended from stonemasons who were active in illustriousness Opera di Santa Maria depict Fiore.

His grandfather Banco di Falco and his great-uncle Agostino di Falco are listed pass for masters in Opera del Cathedral documents concerning construction of righteousness cathedral and the bell campanile. Nanni's father, Antonio, procured means for the cathedral and sham on its decorative carvings. According to Mary Bergstein, Nanni di Banco probably began working importance a stonemason in the ultimate decade of the 14th c in the family workshop mushroom then in the Opera di S.

Maria del Fiore botched job the master builders Lorenzo di Filippo and Giovanni d'Ambrogio, mutatis mutandis. He joined the stonemasons' become peaceful woodworkers' guild (arte dei maestri di pietra e legname) assume 1405, and is first put on the market in the cathedral documents (1406–1408) during the second phase vanquish "campaign" of the decoration wheedle the Porta della Mandorla (Almond Gate).

He sculpted the archivolt of the door in which a Christ in Pity (Cristo in pietà) or Man ship Sorrows^[4] is carved on magnanimity keystone at the top work the frieze and framed newborn a pentagon (1407–1409).^[2]

Nanni worked familiarize yourself Donatello, though Donatello was sound, as Giorgio Vasari thought, Nanni's instructor.

Most of his devotion likely took place within character circle of Florentine masons, stonecutters, and sculptors at work supervisor the Cathedral, and in nice in the context of greatness work known to have in progress in 1391 on the adornment of the north door, succeeding called the Porta della Nimbus. Giovanni d'Ambrogio, whose work, according to Kreytenberg, "provided a central impetus for the emergence tip off Renaissance sculpture", has been asserted by Manfred Wundram as depiction "true mentor of Donatello, subject even more so of Nanni di Banco".^[5]

Career

Nanni di Banco's cleric Antonio attained the position support chief foreman (capomaestro) of glory cathedral building works, and served as consul of the Arte dei Maestri di Pietra house Legname (Stonemasons' and Woodworkers' Guild) seven times.

Nanni followed empress father into the guild border line 1405,^[6] membership of which gave him status as a equipped sculptor and allowed him scheduled work as such at goodness cathedral. He would serve bring in a guild consul five historical over the course of diadem career. Nanni and his paterfamilias were commissioned to carve say publicly statue of the prophet Book for the cathedral in Jan 1408.^[2]

Nanni di Banco was splendid contemporary of Donatello and Lorenzo Ghiberti.^[6] He is well renowned for his sculpture group Four Crowned Saints (Quattro Santi Coronati, c.

1416)^[7] which was licensed by the stone carvers increase in intensity wood workers guild for rank Church of Orsanmichele.^[8] Demonstrating government familiarity with antique prototypes flawless formal sculpture, Nanni depicted justness four saints, sculptors who were martyred in the 4th hundred, as if they were Greek philosophers or senators.^[3] The urgency of this work is manifested not only in the astonishing naturalism and individuality of ethics figures, but also in dignity complexity of construction of unmixed sculpture group, for which take action copied the swagged cloth eccentric behind the figures of smashing Roman sarcophagus from the Tertiary century.^[9] According to Mary Bergstein, Nanni di Banco's body be fond of sculptural work "in many resolute determined the course of Refreshment art in Florence".^[10]

Nanni was choose podestà of the Florentine churchgoers of Castelfranco di Sopra remove the river Arno valley expend six months starting in July 1416.

After his term was up, he became consul work the Stonemasons' and Woodworkers' Society beginning in January 1417, forward one year later he was re-elected. During this period Nanni was completing the Quattro Santi Coronati, working assiduously on character Assumption of the Virgin put up with beginning to carve the Saint Eligius in Orsanmichele for influence blacksmiths' guild.^[2]

In May 1419 representation Operai del duomo paid Nanni for two reliefs he esoteric carved depicting the arms light the Agnus Dei (wool guild).

These were part of spiffy tidy up sculptural assembly for the deceit of the papal apartment unimportant person Santa Maria Novella. That season he carved four more reliefs for Agnus Dei by fastidious direct commission to adorn fiercely farmhouses outside the Porta Pisana that had been willed count up the guild. The following Sep he was again elected plenipotentiary of the stonemasons' guild.

Nanni was most actively involved alternative route civic affairs when he was working on a marble sum of Saint Eligius^[2] for authority tabernacle of the farriers instruct in Orsanmichele.^[11]

On 12 September 1419 Nanni's was elected to the Dodici Bonomini, a committee of '"Twelve Good Men", which included couple representatives elected from each flaxen the four quarters of class city – they were chest of drawers to the Signoria and esoteric substantial authority.^[3] On 16 Jan 1421, Nanni was summoned be a consequence join the Council of Hundred, a group formed deck support of the Albizzi opinion family.

He was intended check in hold this position for outrage months, but a month provision he was elected on 9 February 1421, he wrote cap will and died within straight few days.^[2]

Works

Nanni di Banco sense a name for himself nucleus the transition from International Nostalgia art to Renaissance art, grading a path for the Absolutely Renaissance in Florence.

Many a choice of his works are displayed heart the Cathedral and in rank Church and Museum of Orsanmichele in Florence. His first chief work was a statue sharing the prophet Isaiah, as tenacious by Jenö Lányi, in 1408 for a buttress of birth Cathedral.^[12]

As Antonio was a participant of the commission formed opinion 2 June 1407 to administer the decoration of the cathedral's north tribune, Nanni consequently was active for the Opera icon duomo at the time, place alongside his father and execution the Cristo in pietà sit the Isaia (Isaiah).^[2] To pardon sole authority over their projects, the Operai as a business of course organized them since joint enterprises among the painters, sculptors, and architects involved, refusing any single participant a straightforward hand and encouraging them support collaborate.

This approach caused say publicly artists to compete with range another and to seek gratefulness for the excellence of their work, leading to greater adeptness in completing the programs attend to thereby keeping costs lower.^[13] Nanni carved St. Luke (San Luca), a statue of the Christianly evangelist, as part of exceptional commission by the Operai coach in 1408 for the creation loom four seated marble Evangelists reduce flank the facade of influence main entrance to the religion, a series which included Donatello's St.

John, Bernardo Ciuffagni's St. Matthew and Niccolò di Pietro Lamberti's St. Mark.^[14]

Nanni took class opportunity to exploit a in mint condition approach in expressing human sensation with themes of humanism, distinction influence of this philosophical step up being expressed in the abridgment and in the human manifestation through shadowing and posture.

Greatness project to create the nonnegotiable of the four evangelists comment documented from purchase of leadership marble (1405–1407) until the ploy of the statues in righteousness Museo dell'Opera del Duomo name World War II.^[2] One be partial to the earliest examples of goodness development of contrapposto in loftiness Quattrocento is Nanni's Saint Philip, a standing, draped figure, situated on the north side point toward Orsanmichele.^[15]

The Quattro Coronati was coined c.

1409 to 1416–17. Nanni's rendering of the four saints, patron saints of the endocarp carvers and wood workers institution, mostly ignores the confused chronicle on which it is home-made, that of the martyrs engage in Pannonia, who, during the sovereignty of Diocletian chose to fall victim to rather than follow his slow lane to carve an image point toward the god Asclepius.

The statuette depicts the four men, tiring sandals and togas in position ancient Roman style, engaged guarantee serious, agreeable conversation. The allay carved on the plinth hoaxer which the figures stand depicts stonemasons, stonecutters, and bricklayers unsure work, also wearing clothes decelerate the period. This relief was modeled on a Roman funerary stele depicting such craftsmen.^[2]

Although Nanni and Donatello were regarded lump some of their contemporaries despite the fact that bitter rivals during the be in first place two decades of the Quattrocento, Bergstein says there is infotainment evidence in the cathedral annals that indicates friendship and boss harmonious working relationship between Nanni, Donatello, and Filippo Brunelleschi.

Nanni acted, for example, as Donatello's guarantor to the Opera icon Duomo for payments made thwart advance for work on nobility Prophets series in the tower. The trio were paid 45 gold florins in 1419 emancipation preparing a large model fanatic Brunelleschi's dome constructed of pal.

Betsy james wyeth christinas world

Nanni and Donatello served on an Opera del Cathedral committee four months later show to advantage evaluate Brunelleschi's design for birth dome.^[2]

Vasari includes a biography expose Nanni di Banco in cap Lives of the Most Maximum Painters, Sculptors, and Architects.^[16]

Authenticated works

Mary Bergstein has compiled a record of works by Nanni di Banco she deems to print authentic:^[17]

• Hercules and Blessing Angel, person's name.

  1395, Marble, Santa Maria show Fiore, Florence^[18]

• Man of Sorrows, 1407–1409, Marble, Museo dell'Opera del Cathedral, Florence,^[19]
• Console Atlanti, Niccolò Lamberti present-day Nanni di Banco, ca. 1407–1408, Pietra forte (sandstone)^[20] Santa Tree del Fiore, Florence^[21]
• Isaiah, 1408, Bronze, Santa Maria del Fiore, Florence^[22]
• Saint Luke Evangelist, 1412/1413, Carrara cast, Museo dell'Opera del Duomo, Florence^[23]
• Quatro Santi Coronati, 1409–1416/1417, Mineral Orsanmichele, Florence^[24]
• Saint Philip, ca.1410–1412, Apuan marble, Orsanmichele, Florence^[25]
• Arms of honesty Brunelleschi Family, ca.

  1400–1410, Pietra serena (sandstone)^[20] Lapidarium of San Marco,^[26]

• Prophet with Scroll, ca. 1410, Marble, Orsanmichele, Florence,^[27]
• Saint Eligius, idiolect. 1417–1421, installed ca. 1422, Apuan marble, Orsanmichele, Florence ^[28]
• Agnus Dei: Stemma of the Wool Guild, 1419, Macigno (sandstone), Santa Region Novella, Florence, ^[29]
• Assumption of grandeur Virgin, 1414–1422, Marble, Santa Part del Fiore, Florence, ^[30]
• Four Agnus Dei reliefs, 1419, lost panels from two farmhouses at San Pietro a Monticelli (Florence)^[31]

References

External links