03 — ARTWORK
Prophet
MANTEGAZZA, Cristoforo · 1489 →
- MEDIUM
- Stone, 3/4 life-size
- TYPE
- Religious
PALETTE
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- FILE
- 308 × 868 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The Certosa at Pavia was for many years the focal point of sculptural activity in Lombardy, and it is a veritable museum of Late QuattrocentoThe 15th century in Italian art. The term is often used of the new style of art that was characteristic of the Early Renaissance, in particular works by Masaccio, Brunelleschi, Donatello, Botticelli, Fra Angelico and others. It was preceded by the Trecento and followed by the Cinquecento. Lombard sculpture. The façadethe front or principal face of a building, especially one elaborately constructed; a blind façade is a façade that is purely decorative and does not relate to the structure of the building. of the Certosa with its figures and reliefs swamped by a riot of ornamental carving is far closer akin in spirit to transalpine late GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. than to the classicism of Padua. Of the many sculptors working on the façade, the most striking are the Mantegazza brothers who, while remaining strongly influenced by the Gothic, developed the emotional possibilities in handling of the drapery. Their characteristic "clinging wet" or "crumpled paper" draperies evolved from those of Donatello via Bellano, but the haggard, gaunt faces owe a heavy debt to North Italian Late Gothic terracottas, as well as to the late Donatello.
The Mantegazza brothers (Cristoforo and Antonio) cannot be stylistically separated, thus the statue of the Prophet shown on the picture can be the work of either Cristoforo or Antonio.
CITE THIS RECORD — BIBTEX
@online{wga-r9c81bc103fe8a8,
author = {Krén, Emil and Marx, Daniel},
title = {Prophet by MANTEGAZZA, Cristoforo},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/mantegazza-cristoforo-rf35fd4282f224c/prophet-r9c81bc103fe8a8},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
