Mino da Fiesole

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Portrait of Mino da Fiesole, metalpoint with white gouache on blue-grey prepared paper cut to an oval, Chatsworth House. Subject identified based on the similarity to the woodcut illustration in the Lives of Vasari, for which it is a probable source. Alfred Scharf's attribution of the drawing to Filippino Lippi has been generally accepted. Mino da Fiesole (Filippino Lippi).jpg
Portrait of Mino da Fiesole, metalpoint with white gouache on blue-grey prepared paper cut to an oval, Chatsworth House. Subject identified based on the similarity to the woodcut illustration in the Lives of Vasari, for which it is a probable source. Alfred Scharf's attribution of the drawing to Filippino Lippi has been generally accepted.

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.

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Poppi Comune in Tuscany, Italy

Poppi is a comune (municipality) in the Province of Arezzo in the Italian region Tuscany, located about 40 km (25 mi) east of Florence and about 30 km (19 mi) northwest of Arezzo.

Tuscany Region of Italy

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Contents

Career

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.

Desiderio da Settignano Italian artist

Desiderio da Settignano, real name Desiderio de Bartolomeo di Francesco detto Ferro was an Italian sculptor active during the Renaissance.

Antonio Rossellino Italian artist

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.

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. [2]

Matteo Civitali Italian sculptor

Matteo Civitali (1436–1501) was an Italian sculptor and architect, painter and engineer from Lucca. He was a leading artistic personality of the Early Renaissance in Lucca, where he was born and where most of his work remains.

Of Mino's earlier works, the finest are in the cathedral of Fiesole, the altarpiece and tomb of Bishop Leonardo Salutati (died 1466) [2]

Altarpiece Artwork (painting, sculpture or relief) behind the altar

An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate frame for the central image or images. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation.

Tomb burial place

A tomb is a repository for the remains of the dead. It is generally any structurally enclosed interment space or burial chamber, of varying sizes.

Leonardo Salutati was a Roman Catholic prelate who served as Bishop of Fiesole (1450–1466).

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).

Badia Fiorentina abbey

The Badìa Fiorentina is an abbey and church now home to the Monastic Communities of Jerusalem situated on the Via del Proconsolo in the centre of Florence, Italy. Dante supposedly grew up across the street in what is now called the 'Casa di Dante', rebuilt in 1910 as a museum to Dante. He would have heard the monks singing the Mass and the Offices here in Latin Gregorian chant, as he famously recounts in his Commedia: "Florence, within her ancient walls embraced, Whence nones and terce still ring to all the town, Abode aforetime, peaceful, temperate, chaste." In 1373, Boccaccio delivered his famous lectures on Dante's Divine Comedy in the subsidiary chapel of Santo Stefano, just next to the north entrance of the Badia's church.

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. [2]

Prato Cathedral cathedral in Prato, Italy

Prato Cathedral is a Roman Catholic cathedral in Prato, Tuscany, Central Italy, from 1954 the seat of the Bishop of Prato, having been previously, from 1653, a cathedral in the Diocese of Pistoia and Prato. It is dedicated to Saint Stephen, the first Christian martyr.

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. [2]

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.

See also

Notes

  1. George R. Goldner, "Portrait of a Man Looking Down (Mino da Fiesole)," cat. no. 20, in G.R. Goldner et al., The Drawings of Filippino Lippi and His Circle, New York: The Metropolitan Museum of Art, 1997, p. 136.
  2. 1 2 3 4 Chisholm 1911.
  3. Butterfield, Andrew (March 8, 2012). "They Clamor for Our Attention". The New York Review of Books59 (4): 11

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