|
FAMOUS MEDIEVAL
SCULPTORS
Gislebertus (12th century)
Master of Cabestany (12th century)
Master Mateo (12th century)
Nicola Pisano (c.1206-1278)
Giovanni Pisano (c.1250-1314)
Arnolfo di Cambio (c.1240–1310)
Giovanni di Balduccio (c.1290–1339)
Andrea Pisano (1295-1348)
Filippo Calendario (pre-1315-1355)
Andre Beauneveu (c.1335-1400)
Claus Sluter (c.1340-1406)
Hans Multscher (c.1400-1467)
Giorgio da Sebenico (1410-1473)
Michel Colombe (c.1430-1512)
Veit Stoss (c.1447-1533)
Tilman Riemenschneider (c.1460-1531)
Gregor Erhart (c.1460-1540).
MEDIEVAL SCULPTURE
For details of the plastic arts during
the Middle Ages, see these resources:
Medieval Sculpture (c.400-1000)
From Late Antiquity to Romanesque
Medieval Artists
Painters/sculptors (1000-1400)
Gothic Sculpture (1150-1280)
Cathedral Art, Ile de France.
German Gothic Sculpture
Strasbourg, Bamberg Cathedrals
English Gothic Sculpture
Wells, Westminster Cathedrals
See also: Gothic Architecture.
SCULPTING MEDIA
For different types of carving,
and modelling, see:
Stone Sculpture
From igneous, sedimentary,
and metamorphic rocks.
Marble Sculpture
Pentelic, Carrara, Parian marbles.
Wood Carving
Chip carving, relief carving of
softwoods and hardwoods.
Bronze Sculpture
Lost-wax casting method,
sandcasting, centrifugal casting.
|
Little is known about Antelami's origins
or how he became proficient in the art of sculpture.
It is likely that he came originally from Lombardy, perhaps from Val d'Intelvi.
According to at least one historian, his sculptural technique derived
from local north Italian traditions. However, taking into account the
Provencal style of his art, it is believed that he served his apprenticeship
at Saint-Trophime d'Arles.
Cathedral of Parma
At any rate, by 1178 he was already at
work on his bas-relief of the Deposition from the cross, in the right
transept of the Cathedral of Parma. This work betrays wider influences,
notably those of classical and Byzantine sculpture. There is a strong
classicising style to the relief, seen especially in the gentle folds
of the drapery on each figure. Antelami's treatment of the drapery reveals
the strong influence that the classical sculpture, still visible in Italy,
had on his work. Here, the lines of the drapery add a sense of movement
to the otherwise still composition. The figures' unnatural proportions,
for example their large clumsy hands and feet, do not detract from the
overall impression of the work; instead, they add a humanistic element
to the sombre piece.
Baptistry of Parma
In 1196, Antelami began work on the sculptural
decoration of the Baptistry of Parma, a building he also designed.
Between 1196 and 1214, he created the lunettes (arched apertures) of the
three portals. The exterior depicted various Biblical themes including
the Last Judgement and the Adoration of the Magi, while the interior portrayed
the Flight into Egypt, and David playing the harp, as well as high-relief
(alto-relievo) figurative allegories of the months and the seasons.
Here, as in the Deposition relief in the
Cathedral, Antelami's work is characterized by its realism and emotion,
within - it must be said - the rather formalistic conventions of the age.
Other Works
Sculptures by Antelami can also be seen
in the Fidenza Cathedral, as well as on the main west portal of
the Basilica di San Marco, Venice, and in the Museum of Antique
Art in Milan.
|
