- Sansovino, Andrea
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orig. Andrea Contucciborn с 1467, Monte San Savino, Republic of Florencedied 1529, Monte San SavinoItalian sculptor.The fine detail and high emotional pitch of his marble Altar of the Sacrament in Florence's Santo Spirito (1485–90) typify his early work; his marble Baptism of Christ (1502), above one of the Baptistery doors in Florence, marks a shift to High Renaissance style with its dignified poses and strong but controlled emotion. His tombs for two cardinals in Rome's Santa Maria del Popolo (completed 1509) were his most influential innovation, with their triumphal-arch form and the novel sleeping attitude of the deceased cardinals. His works display the transition from early to High Renaissance, and his graceful style acted as a counterbalance to Michelangelo's titanic, muscular sculpture throughout the 16th century.
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▪ Italian architectoriginal name Andrea Contucciborn c. 1467, Monte San Savino, Republic of Florencedied 1529, Monte San SavinoItalian architect and sculptor whose works reflect the transition from early to High Renaissance.His earliest great work was the marble Altar of the Sacrament in S. Spirito, Florence, executed for the Corbinelli family between 1485 and 1490; the fineness of detail, high emotional pitch, and lively narrative quality seen in the altar are typical of his early style. After several years in Portugal, according to Vasari, the 16th-century biographer of Italian artists, Sansovino was again in Florence in 1502, when he began the marble group of the “Baptism of Christ,” now above the central door of the baptistery. The calm and dignified poses, the strong but controlled emotion, and the generalized beauty of the bodies mark this as one of the first works in the style of the High Renaissance.In 1505 Sansovino went to Rome and was commissioned by Pope Julius II to execute the almost identical tombs of cardinals Ascanio Sforza and Girolamo Basso della Rovere in Sta. Maria del Popolo. These tombs, completed by 1509, were the most influential of all Sansovino's innovations, with their adaptation of the triumphal-arch form and the novel sleeping attitude of the deceased cardinals. Sansovino's last great charge was to supervise both the decoration of the Santa Casa (Holy House of the Virgin) and the construction of several buildings at Loreto. His marble relief of the “Annunciation” on the shrine there is a composition of great richness that still has some of the narrative charm of his very early work.The influence of Sansovino's suave and graceful style acted as a counterbalance to Michelangelo's titanic and muscular sculpture throughout the 16th century. His most important follower was Jacopo Tatti, called Sansovino after his master.* * *
Universalium. 2010.
