Cassone in the context of "Francesco di Giorgio Martini"

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๐Ÿ‘‰ Cassone in the context of Francesco di Giorgio Martini

Francesco di Giorgio Martini (1439โ€“1501) was an Italian architect, engineer, painter, sculptor, and writer. As a painter, he belonged to the Sienese School. He was considered a visionary architectural theoristโ€”in Nikolaus Pevsner's terms: "one of the most interesting later Quattrocento architects". As a military engineer, he executed architectural designs and sculptural projects and built almost seventy fortifications for the Federico da Montefeltro, Count (later Duke) of Urbino, building city walls and early examples of star-shaped fortifications.

Born in Siena, he apprenticed as a painter with Vecchietta. In panels painted for cassoni he departed from the traditional representations of joyful wedding processions in frieze-like formulas to express visions of ideal, symmetrical, vast and all but empty urban spaces rendered in perspective.

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Cassone in the context of Pesellino

Francesco Pesellino (probably 1422 โ€“ July 29, 1457), also known as Francesco di Stefano, was an Italian Renaissance painter active in Florence. His father was the painter Stefano di Francesco (died 1427), and his maternal grandfather was the painter Giuliano Pesello (1367โ€“1446), from whose name the diminutive nickname "Pesellino" arose. After the death of his father in 1427, the young Pesellino went to live with his grandfather whose pupil he became. Pesellino remained in his grandfather's studio until the latter's death, when he began to form working partnerships with other artists, such as Zanobi Strozzi and Fra Filippo Lippi. He married in 1442, and probably joined the Florentine painters' guild in 1447. In the following years he made for reputation with small, highly-finished works for domestic interiors, including religious panels for private devotional use and secular subjects for pieces of furniture (i.e. wedding chests and wainscoting).

Pesellino died of plague in Florence in 1457 at the age of 35. According to many art historians, his style "anticipated the developments of later Florentine painters such as Andrea del Verrocchio and the Pollaiuoli [brothers Antonio and Piero]".

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