Mino da Fiesole (c. 1429 – July 11, 1484), also known as Mino di Giovanni, was an Italian sculptor from Poppi, Tuscany. He is noted for his portrait busts.
Mino's work was influenced by his master Desiderio da Settignano and by Antonio Rossellino, and is characterized by its sharp, angular treatment of drapery. Unlike most Florentine sculptors of his generation, Mino passed two lengthy sojourns in Rome, from about 1459 to 1464 and again from about 1473/1474 until 1480.
Mino was a friend and fellow-worker of Desiderio da Settignano and Matteo Civitali, all three being about the same age. Mino's sculpture is remarkable for its finish and delicacy of details, as well as for its spirituality and strong devotional feeling.
Of Mino's earlier works, the finest are in the cathedral of Fiesole, the altarpiece and tomb of Bishop Leonardo Salutati (died 1466)
His most arduous and complicated commissions, which define his intellectual and artistic nature, are an altarpiece and tombs for the church of the Benedictine monastery in Florence known as the Badia. (The monuments have been reinstalled in the rebuilt church.) The first, completed about 1468, was essentially a private commission for the Florentine jurist Bernardo Giugni. The second, directly commissioned by the monks and finished in 1481, honored the memory of their founder, the tenth century Ugo, count of Tuscany. The wall monuments exercised Mino's skills: portraits and bas-reliefs are worked into complex tectonic aedicular structures with elaborate highly individualistic decorative moldings. Art historians have revelled in the extraordinary diversity of contemporary and ancient sources that Mino marshaled in these tombs, which distinguish him from other sculptors active in mid quattrocento Florence (Zuraw 1998).
The pulpit in Prato Cathedral, in which he collaborated with Antonio Rossellino, finished in 1473, is very delicately sculpted with bas-reliefs of great minuteness, but somewhat weakly designed.
In 1473 he went to Rome where he remained apparently about six years. It is doubtful if all the monuments there attributed to him are of his own hands; there is no question about the tomb of the Florentine Francesco Tornabuoni in the Church of Santa Maria sopra Minerva, the remains of the monument to Pope Paul II in the crypt of St. Peter's, and the beautiful little marble tabernacle for the holy oils in St. Maria in Trastevere bears the inscription Opus Mini.
Several monuments in Santa Maria del Popolo have at times been attributed to Mino, for example the marble reredos given by Pope Alexander VI. The monuments there of Archbishop of Salerno Pietro Guglielmo Rocca (d. 1482) and Bishop of Burgos Ortega Gomiel (d. 1514), however, have also been attributed to the school of Andrea Bregno.
Some of Mino's portrait busts and profile bas-reliefs are preserved in the Bargello at Florence; they are full of life and expression, though without the extreme realism of Verrocchio and other sculptors of his time.
Several museums house Mino's work, some of which include Musée du Louvre in Paris, France, Museum of Fine Arts in Boston, Massachusetts, Birmingham Museum of Art in Birmingham, Alabama, and National Gallery of Art in Washington, D.C.
His other works include:
Giorgio Vasari's vita of Mino da Fiesole in his Lives of the Artists dismisses him as a mere follower of Desiderio da Settignano, his master.
Donato di Niccolò di Betto Bardi, better known as Donatello, was an Italian sculptor of the Renaissance. Born in Florence, he studied classical sculpture and used this to develop a complete Renaissance style in sculpture, whose periods in Rome, Padua and Siena introduced to other parts of Italy a long and productive career. He worked with stone, bronze, wood, clay, stucco and wax, and had several assistants, with four perhaps being a typical number. Though his best-known works were mostly statues in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was larger architectural reliefs.
Bartolommeo Bandinelli, actually Bartolommeo Brandini, was a Renaissance Italian sculptor, draughtsman and painter.
Desiderio da Settignano, real name Desiderio de Bartolomeo di Francesco detto Ferro was an Italian sculptor active during the Renaissance.
Piero di Cosimo de' Medici , was the de facto ruler of Florence from 1464 to 1469, during the Italian Renaissance.
Antonio Gamberelli (1427–1479), nicknamed Antonio Rossellino for the colour of his hair, was an Italian sculptor. His older brother, from whom he received his formal training, was the sculptor and architect Bernardo Rossellino.
Bernardo di Matteo del Borra Gamberelli, better known as Bernardo Rossellino, was an Italian sculptor and architect, the elder brother of the sculptor Antonio Rossellino. As a member of the second generation of Renaissance artists, he helped to further define and popularize the revolution in artistic approach that characterized the new age.
The Basilica di Santa Croce is the principal Franciscan church in Florence, Italy, and a minor basilica of the Roman Catholic Church. It is situated on the Piazza di Santa Croce, about 800 meters south-east of the Duomo. The site, when first chosen, was in marshland outside the city walls. It is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, the poet Foscolo, the philosopher Gentile and the composer Rossini, thus it is known also as the Temple of the Italian Glories.
Fiesole is a town and comune of the Metropolitan City of Florence in the Italian region of Tuscany, on a scenic height above Florence, 5 km northeast of that city. Harvard University, Georgetown University, and Saint Mary's University of Minnesota all have their centers of Italian Renaissance Studies domiciled in Fiesole. The Decameron by Giovanni Boccaccio is set in the slopes of Fiesole. The city was equally featured in the novels Peter Camenzind (1904) by Hermann Hesse, A Room with a View (1908) by E. M. Forster and Italian Hours (1909) by Henry James.
Settignano is a frazione on a hillside northeast of Florence, Italy, with views that have attracted American expatriates for generations. The little borgo of Settignano carries a familiar name for having produced three sculptors of the Florentine Renaissance, Desiderio da Settignano and the Gamberini brothers, better known as Bernardo Rossellino and Antonio Rossellino. The young Michelangelo lived with a sculptor and his wife in Settignano—in a farmhouse that is now the "Villa Michelangelo"— where his father owned a marble quarry. In 1511 another sculptor was born there, Bartolomeo Ammannati. The marble quarries of Settignano produced this series of sculptors.
Benedetto da Maiano was an Italian sculptor of the early Renaissance.
Giovanni di Cosimo de' Medici was an Italian banker and patron of arts.
Diotisalvi Neroni was an Italian politician.
The decade of the 1420s in art involved some significant events.
Giovanni Bastianini was an Italian sculptor who began his career as a stonecutter in the quarries at Fiesole, and was sent by Francesco Inghirami to study in Florence, first with Pio Fedi and then with Girolamo Torrini, with whom he collaborated on a statue of Donatello for the portico of the Uffizi. Bastianini's name became famous in connection with his unmasking as the first widely publicized art forger.
Andrea Ferrucci, also known as Andrea di Piero Ferruzzi and as Andrea da Fiesole, was an Italian sculptor who was born in Fiesole, Tuscany, in 1465. He was a first cousin once removed of the artist Francesco di Simone Ferrucci (1437–1493), under whom he studied.
The Master of the Marble Madonnas was the name given to an unidentified sculptor, or perhaps group of sculptors, active in the Tuscan region of Italy between c. 1470 and c.1500. He is thought to have been responsible for a group of stylistically related sculptures that is based mainly on their related compositions and drapery forms. Products of the Master's workshop include a large number of reliefs of the Virgin and Child; busts and reliefs depicting the suffering of Christ were also popular, as were busts of children. Various mannerisms can be seen in this group, as well; among these has been what is described as "a peculiar feline smile from heavy-lidded eyes and a taut jaw, at its best radiating inward joy but often acerbic or bordering on the manic"
Simone Ferrucci (1437-1493), also Francesco di Simone Ferrucci, was an Italian sculptor.
Giovanni di Paolo Rucellai (1403–1481) was a member of a wealthy family of wool merchants in Renaissance Florence, in Tuscany, Italy. He held political posts under Cosimo and Lorenzo de' Medici, but is principally remembered for building Palazzo Rucellai, for his patronage of the S. Sepolcro chapel and of the marble façade of the church of Santa Maria Novella, and as author of the Zibaldone. He was the father of Bernardo Rucellai (1448–1514) and grandfather of Giovanni di Bernardo Rucellai (1475–1525).
An anonymous author known as the Anonimo Gaddiano, Anonimo Magliabechiano, or Anonimo Fiorentino is the author of the Codice Magliabechiano or Magliabechiano, a manuscript with 128 pages of text, probably from the 1530s and 1540s, and now in the Central National Library of Florence. It includes brief biographies and notes on the works of Italian artists, mainly those active in Florence during the Middle Ages. Among several other suggestions, the anonymous author has been suggested to be Bernardo Vecchietti (1514–1590), a politician of the court of Cosimo I. The author clearly had intimate access to the Medici court.
The Funerary Monument to Cardinal Niccolo Forteguerri is an assembly of mostly deep bas-relief sculptures installed posthumously on a wall of the Cathedral of Pistoia to memorialize the native Cardinal. While the initial design for this monument was completed by the Renaissance sculptor Andrea Verrochio, the present arrangement, completed centuries later, was assembled with substantial modifications by lesser-known artists.
|Wikimedia Commons has media related to Mino da Fiesole .|