Giovanni pisano annunciation
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Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)
The pulpit in the pieve of Sant'Andrea, Pistoia, Italy is a masterpiece by the Italian sculptor Giovanni Pisano, completed in 1301. It has many similarities with the groundbreaking pulpit in the Pisa Baptistery of 1260 by Giovanni's father Nicola Pisano, which was followed by the Siena Cathedral Pulpit, which Giovanni had assisted with.
These very advanced works are often described in terms such as "proto-Renaissance", and draw on Ancient Roman sarcophagi and other influences to form a style that represents an early revival of classical sculpture, while also remaining Gothic, and drawing on sources such as French ivory carvings. However, Giovanni's style moved away from the strong classicism of his father's style to one more influenced by northern Gothic art.[1]
History
[edit]According to an inscription running between the pulpit's arcades and parapets, it was commissioned by Canon Arnoldus (Arnoldo) and superv
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Giovanni Pisano
Italian sculptor
This article is about Italian 14th-century sculptor. For the footballer, see Giovanni Pisano (footballer).
Giovanni Pisano (c. 1250 – c. 1315) was an Italian sculptor, painter and architect, who worked in the cities of Pisa, Siena and Pistoia.[1] He is best known for his sculpture which shows the influence of both the French Gothic and the Ancient Roman art. Henry Moore, referring to his statues for the facade of Siena Cathedral, called him "the first modern sculptor".
History
[edit]Born in Pisa, Giovanni Pisano was the son of the famous sculptor Nicola Pisano. He received his training in the workshop of his father and in 1265–1268 he worked with his father on the pulpit in Siena Cathedral. His next major work with his father was the fountain Fontana Maggiore in Perugia (completed 1278). Nicola Pisano is thought to have died either around 1278 or in 1284 when Giovanni took up residence in Siena. These first
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Giovanni Pisano's first pulpit, in Sant'Andrea, Pistoia, was begun c. 1298, partly executed in Pisa and finished in 1301, the date of the inscription, which describes the sculptor as the 'son of Nicola, and blessed with higher skill'. Many of the devices of Nicola's Pisa baptistery pulpit reappear (e.g. the hexagonal structure, trefoil arches, and iconographic sequences, although the Presentation fryst vatten replaced bygd the massaker of the Innocents, as in Nicola's Siena pulpit), but the compositional conception is radically revised. There is greater unity of architecture and sculpture, with the vigorously projecting statues between the panels and the deeply undercut reliefs, each independent of its neighbour; the verticals are more accentuated, with slimmer supports and acutely pointed arches; and, most important, the visual stability of the pulpit is undermined by the suggestion that the column on the shoulders of Atlas fryst vatten beginning to slip.
The central support of the pulpit fryst vatten raised