Antonio Mangiacavalli | |
|---|---|
 Antonio Mangiacavalli, Tomb of Nicolò Orsini , first decade of 16th century, Santa Giulia Museum, Brescia | |
| Born | 15th century |
| Died | 16th century |
| Nationality | Italian |
| Notable work | Tomb of Nicolò Orsini |
Antonio Mangiacavalli (15th century - 16th century) was an Italian sculptor of the Renaissance.
Born in Como, Antonio Mangiacavalli was active in Brescia between the 15th and 16th centuries.
Mangiacavalli is best known for his funerary monument of Nicolò Orsini, a condottiero, created in the 16th century. [1] It is preserved in the Santa Giulia Museum in Brescia. His best documented work is the entry portal of the Duomo of Salò, executed between 1506 and 1508 in collaboration with Gasparo Cairano.
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Breno is an Italian comune of 4,986 inhabitants in Val Camonica, province of Brescia, in Lombardy.
Lombardo, the name of a family of Venetian sculptors and architects; their surname was apparently Solaro, and the name of Lombardo was given to the earliest known, Martino, who emigrated from Lombardy to Venice in the middle of the 15th century AD and became celebrated as an architect.
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The Sicilian Renaissance forms part of the wider currents of scholarly and artistic development known as the Italian Renaissance. Spreading from the movement's main centres in Florence, Rome and Naples, when Renaissance Classicism reached Sicily it fused with influences from local late medieval and International Gothic art and Flemish painting to form a distinctive hybrid. The 1460s is usually identified as the start of the development of this distinctive Renaissance on the island, marked by the presence of Antonello da Messina, Francesco Laurana and Domenico Gagini, all three of whom influenced each other, sometimes basing their studios in the same city at the same time.
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The Bergamasque and Brescian Renaissance is one of the main variations of Renaissance art in Italy. The importance of the two cities on the art scene only expanded from the 16th century onward, when foreign and local artists gave rise to an original synthesis of Lombard and Venetian modes, due in part to the two cities' particular geographical position: the last outpost of the Serenissima on the mainland for Bergamo and a disputed territory between Milan and Venice for Brescia.
The Martinengo mausoleum is a funerary monument made through the use of various marbles and bronze by Gasparo Cairano, Bernardino delle Croci and probably the Sanmicheli workshop, dated between 1503 and 1518 and preserved in the museum of Santa Giulia in Brescia, in the nuns' choir.