Benedetto Antelami
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Benedetto Antelami
(born 1150, probably Lombardydied 1230, Parma) Italian sculptor and architect. He probably belonged to the Magistri Antelami, a civic builders' guild in the Lake Como region. An early signed marble relief by him, The Descent from the Cross (1178), is in Parma Cathedral; his extensive cycle of sculpture on the baptistery at Parma was begun in 1196. He is credited with the sculptural decorations of Fidenza Cathedral and Ferrara Cathedral. His last work is believed to have been the decoration and (at least in part) the construction of the church of Sant'Andrea at Vercelli, the architecture of which successfully combined Tuscan Romesque with Gothic characteristics (such as flying buttresses, rose windows, and ribbed vaulting) and won him lasting renown.
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Benedetto Antelami
( fl 1178-?1233). Italian sculptor and architect. After Wiligelmo and Nicholaus, Antelami was the last of the great northern Italian sculptors working in the cities of the central Po Valley in the 12th century. Although he is referred to in the inscriptions as a sculptor, it is probable that he was also an architect, and that he belonged originally, as his name implies, to the guild of civic builders known as the 'Magistri Antelami', active in the region of Como. He worked mainly in Parma and its surroundings, although his influence was widespread.
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Oxford Dictionary of Architecture & Landscaping:
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Benedetto degli Antelami
or Antelmi, Benedetto degli
(fl. 1178–1233)
Italian sculptor and architect, responsible for the towering octagonal Romanesque Baptistry at Parma (1196–1216, but not completed until 1270): the exterior treatment has four tiers of open colonnaded galleries. Also attributed to him are the pilgrimage-church of Borgo San Donnino (Fidenza—late C12 and early C13), and the Church of Sant'Andrea at Vercelli (1219–26) in which the transition from Romanesque to Gothic is clearly expressed.
Bibliography
- K. Forster (1961)
- Quintavalle (1990)
The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)
Columbia Encyclopedia:
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Benedetto degli Antelami
Antelami, Benedetto (bānādĕt'tō äntālä'mē), c.1150-c.1225, Italian sculptor. Considered the most important sculptor of the late Romanesque period in N Italy, Antelami was an aesthetic forebear of Nicola and Giovanni Pisano. His relief carvings emphasize rhythmic design by means of drapery details on elongate figures and tight compositions. The faces of his figures are profoundly expressive. Antelami's style, as in his doors for the baptistery at Parma (begun 1196), suggests that he was trained in S France. It is clear that his late work was influenced by French Gothic style.
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Benedetto Antelami
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Benedetto Antelami (c. 1150 – c. 1230) was an Italian architect and sculptor of the Romanesque school, whose "sculptural style sprang from local north Italian traditions that can be traced back to late antiquity"[1] Little is known about his life. He was probably originally from Lombardy, perhaps born in Val d'Intelvi. It is believed from the Provençal style of his art that he served as apprentice at Saint-Trophime d'Arles. In 1178 he was at work at the Cathedral of Parma, where a bas-relief of the Deposition from the cross. On this work, in the right transept, his name and the date are inscribed. Here, in addition to the Provençal element, can be seen both classical and Byzantine influence.
Later, in 1196, he was working with the sculptural decoration of the Baptistry of Parma, a building of which he was probably also the architect. Here, between 1196 and 1214, he made the lunettes of the three portals: on the outside portraying the Adoration of the Magi, the Last Judgement and an allegory of life, on the inside the Flight into Egypt, the Presentation at the Temple and David playing the harp. Also on the inside can be seen alto-relievo personifications of the months and the seasons. These were probably intended for a portal on the facade of the Duomo, but the work was interrupted by Antelami’s death.
Benedetto's sculpture is also to be found in the cathedral of Fidenza, formerly Borgo San Donnino, dedicated to Saint Domninus of Fidenza.
The main west door of the Basilica di San Marco, Venice, is also attributed by some to Antelami or his school, and the current replacement version of the Holy Face of Lucca (the Volto Santo) is ascribed to his circle.
Antelami's works are characteristic for their realism, and strong emotion, within the formalist context of their time.
Notes
- ^ Florens Deuchler, "Introducing Nicholas of Verdun" The Metropolitan Museum of Art Bulletin New Series, 28.6 (February 1970, pp. 229-231), p 230.
Sources
- Moritz Woelk: Benedetto Antelami – Die Werke in Parma und Fidenza. Rhema-Verlag, Münster 1995, ISBN 978-3-930454-01-3
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A Dictionary of Architecture and Landscape Architecture. Copyright © 1999, 2006 by Oxford University Press. All rights reserved.
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