Piero di Giovanni Tedesco (died c. 1402) was a German or Flemish sculptor active in Italy. He was born before 1386.
Piero di Giovanni Tedesco (died c. 1402) was a German or Flemish sculptor active in Italy. He was born before 1386.
According to Lorenzo Ghiberti, he owed his nickname 'Tedesco' to his origins in Germany or (according to others) in the Duchy of Brabant. He is first recorded in Florence in 1386 - there he worked on Florence Cathedral up until 1399 and a document dated 5 September 1387 from its records shows a payment to the painter Lorenzo di Bicci for designing a sculpture for Piero Tedesco to carve. He also worked on Milan Cathedral and in 1402 he is recorded as working on the font in Orvieto Cathedral.
The c.1399 Madonna of the Rose is attributed to him. Niccolò di Piero Lamberti was his assistant. His son Niccolò was a master glassmaker who worked on the windows at Orsanmichele among other places. [1]
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.
Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
Luca Signorelli was an Italian Renaissance painter who was noted in particular for his ability as a draftsman and his use of foreshortening. His massive frescoes of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece.
Arnolfo di Cambio was an Italian architect and sculptor. He designed Florence Cathedral and the sixth city wall around Florence (1284-1333), while his most important surviving work as a sculptor is the tomb of Cardinal de Braye in S. Domenico, Orvieto.
Benozzo Gozzoli was an Italian Renaissance painter from Florence. A pupil of Fra Angelico, Gozzoli is best known for a series of murals in the Magi Chapel of the Palazzo Medici-Riccardi, depicting festive, vibrant processions with fine attention to detail and a pronounced International Gothic influence. The chapel's fresco cycle reveals a new Renaissance interest in nature with its realistic depiction of landscapes and vivid human portraits. Gozzoli is considered one of the most prolific fresco painters of his generation. While he was mainly active in Tuscany, he also worked in Umbria and Rome.
Giovanni Antonio Sogliani was an Italian painter of the Renaissance, active mainly in Florence.
Jacopo di Cione was an Italian Gothic period painter in the Republic of Florence.
The decade of the 1460s in art involved some significant events.
The decade of the 1450s in art involved many significant events, especially in sculpture.
Pagno di Lapo Portigiani was an Italian Renaissance decorative sculptor, a minor follower of Donatello who worked on numerous occasions in projects designed and supervised by Michelozzo.
Lorenzo di Bicci was an Italian painter of the Florentine School considered to be one of the most important painters in Florence during the second half of the 14th century. He is believed to have learned his trade from his father, about whom little is known. Lorenzo’s style, as well as that of his contemporaries Jacopo di Cione and Niccolò di Pietro Gerini, was influenced by the artist Andrea di Cione. Lorenzo's paintings made use of bright colors and his compositions avoided complexity. The figures he painted tended to have round faces and were often expressionless. Another one of Lorenzo's distinctive characteristics was his precision of execution. He was known for exceptional talent in drawing, an ability that he put to use at the initial stages of his painting. Unlike many celebrated Florentine artists of this period, Lorenzo mostly received commissions from the country clergy and from the lower-middle class Florentine guilds. His successors, Bicci di Lorenzo and Neri di Bicci, continued to serve these groups.
Niccolò di Piero Lamberti, also known as Niccolò di Pietro Lamberti, Niccolo Aretino, Niccolò d'Arezzo and as il Pela, was an Italian sculptor and architect. Little is known about his life other than that he was married in Florence in 1392. His son, Piero di Niccolò Lamberti (1393–1435), was also a sculptor, and the two are notable for exporting the Tuscan style of sculpture to Venice, where they were active in the late 1410s and 1420s.
The Museo dell'Opera del Duomo in Florence, Italy is a museum containing many of the original works of art created for the Cattedrale di Santa Maria del Fiore, the cathedral (Duomo) of Florence. As of August 2013, the director of the museum is Fr. Timothy Verdon, an American.
Antonio del Massaro da Viterbo, or Antonio da Viterbo, nicknamed il Pastura was an Italian painter.
Mariotto di Nardo di Cione was a Florentine painter in the Florentine Gothic style. He worked at the Duomo of Florence, the church of Santa Maria Maggiore, and the Orsanmichele. He created both frescoes and panel paintings, and was also active as a manuscript illuminator.
Pietro di Miniato or Pietro di San Miniato was an Italian painter, active in Florence and Prato, in a Gothic style. He collaborated with a relative Antonio di Miniato di Piero, likely his son, active circa 1430 in and around Prato. Among the works attributed to him are a painted crucifix in the St Louis Museum of Art, a polyptych in the Museo Civico of Prato, a painted mural in the church of San Niccolò in Prato, and a mural in the Chapel of San Stefano of the Duomo di Prato, depicting the Virgin and child flanked by saints.
The Madonna of the Rose is a 2.2 metre high marble sculpture of the Madonna and Child enthroned, with the Child trying to take a bunch of rosa canina from his mother's hand. It forms part of a cycle of fourteen sculptures of the patron saints of the guilds of Florence on the external niches of the Orsanmichele church. No documents survive to precisely date it, leading to several theories and attributions. Most art historians attribute it to Pietro di Giovanni Tedesco, a German or Flemish sculptor active in Florence in the sculpture-yard of Florence Cathedral. It shows similarities to late works from the school of Giotto.
The Master of the Bigallo Crucifix or Bigallo Master (fl.1215/20-1265) was an Italian painter active around Florence in the first half of the 13th century. He ran one of the first fully organized workshops before Cimabue, specializing in large painted crucifixes for churches, one of the main formats for panel paintings at the time. His notname comes from one of these in the Museo del Bigallo in Florence. A similar work is in the Palazzo Barberini site of the Galleria Nazionale d'Arte Antica museum, Rome.
