During the period of transition from Romanesque to Gothic architecture, one of the most important contributors was the Italian sculptor Giovanni Pisano. Born in the year 1250 in Pisa to his famous sculptor father Nicola Pisano and lived till 1315. A crucial precursor to the Italian Renaissance sculpture, his style is a combination of late French Gothic and ancient Roman art. According to Pietro Toesca – “It is both Gothic and Michaelangelesque as the same time.”
The Fontana Maggiore
The Fontana Maggiore is a monumental fountain located in the city of Perugia, Italy, between the cathedral and the Palazzo del Priori. It was built between the years 1227 and 1278 by Giovanni Pisano under the apprenticeship of his father. The fountain was built as a part of the civic improvement programs held in Perugia to celebrate the autonomy of free commune, beginning in 1278. The basin of the fountain has 25 sides with sculptures of prophets and saints, the signs of the zodiac, scenes from the book of Genesis and other events of Roman history.
Pulpit Of Sant’ Andrea, Pistoia
The pulpit in the Sant’ Andrea cathedral in Pistoia, Italy is considered to be the masterpiece of Giovanni Pisano. The art style is often called ‘proto-Renaissance’ and have effects of Ancient Roman and French Gothic style of sculpture. The structure is similar to the pulpit of Pisa, with a hexagonal shape and seven columns. The five parapets depict scenes from the Life of Christ – Annunciation, Dream of the Magi, Massacre of the Innocents, The Crucifixion, and Last Judgement. The art style is heavily influenced by similar styles of the pulpit of Sienna built by his father.
The Anunciation From The Pulpit Of Sant’ Andrea, Pistoia
Bibliography
Butterfield, Andrew. “Max Seidel, Father and Son: Nicola and Giovanni Pisano.” The Sculpture Journal 23.3 (2014): 404.
Casini, Giovanni. “Henry Moore, Michael Ayrton and Giovanni Pisano: the reception of medieval sculpture.” Sculpture Journal 23.3 (2014): 379-392.
Drogin, DavidJ. ““There are many sculptors, but to Giovanni remain the honors of praise:” the rhetoric of Giovanni Pisano’s words and images.” Patronage and Italian Renaissance Sculpture. Routledge, 2017. 41-60.
