Desiderio da Settignano


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Settignano, Desiderio da:

see Desiderio da SettignanoDesiderio da Settignano
, c.1429–64, Florentine sculptor, a follower of Donatello. His exquisitely delicate marble carving is best seen in his church decorations, bas-reliefs, and busts of women and children. Two bas-reliefs in American collections, Young St.
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Desiderio da Settignano

(dāzēdĕ`rēō dä sĕt'tēnyä`nō), c.1429–64, Florentine sculptor, a follower of DonatelloDonatello
, c.1386–1466, Italian sculptor, major innovator in Renaissance art, b. Florence. His full name was Donato di Niccolò di Betto Bardi. In his formative years he assisted Ghiberti in Florence with the bronze doors for the baptistery.
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. His exquisitely delicate marble carving is best seen in his church decorations, bas-reliefs, and busts of women and children. Two bas-reliefs in American collections, Young St. John the Baptist (National Gall. of Art, Washington, D.C.) and "Foulc" Madonna and Child (Philadelphia Mus. of Art), are characteristic of his style and charm. Two of his Florentine works, the tomb of Carlo Marsuppini in the Church of Santa Croce and a tabernacle in the Balsilica of San Lorenzo, are among the most beautiful of early Renaissance monuments. The National Gallery of Art, Washington, D.C., has several examples of his work.

Desiderio da Settignano

 

Born circa 1430, in Settingnano, Tuscany; died Jan. 16, 1464, in Florence. Italian sculptor. Exponent of the Early Renaissance Florentine School.

Desiderio probably studied with Donatello and Bernardo Rossellino. While working with Donatello he did not lose his independence. Desiderio’s work is distinguished by lucid lyrical contemplativeness and a poetic integrity of images. His tombstones, reliefs, and portrait busts are clearly composed and have graceful lines and fine modeling, while the marble surface is treated with a mellow virtuosity that creates a wealth of gradations of light and shade. His main works (all marble) are the tomb of C. Marsuppini (after 1453, in the church of Santa Croce, Florence), the relief Panciatichi Madonna (c. 1450-54) and portrait of a woman (c. 1460-64—both in the National Museum in Florence—and portraits of children depicting John the Baptist and the infant Jesus (c. 1455-60, in the Hermitage in Leningrad and the National Gallery in Washington).

REFERENCE

Cardellini, A. Desiderio da Settignano. Milan, 1962.

M. IA. LIBMAN

References in periodicals archive ?
Focusing on the primacy of sculpture in the early to mid 15th century, it includes important pieces by Donatello, Ghiberti and Desiderio da Settignano (left), often displayed in unusual juxtapositions with paintings or antique works.
1450-55, often attributed to Donatello but which the exhibition assigns to the workshop of Desiderio da Settignano.
Ferrucci's earliest documented decorations in the Badia di Fiesole (1463) show especially the influence of Desiderio da Settignano and form the basis for some attributions.
3)--by Antonio Rossellino and Desiderio da Settignano, respectively--Florentine sculptors portrayed outer likeness and inner character with an accomplishment unknown since antiquity.
Caglioti reconstructs the base designed by Desiderio da Settignano when the Davidwas moved to the Palazzo Medici and identifies two battered heads of harpies as surviving fragments.
in Washington, DC, where the exhibition of the Florentine Renaissance sculptor Desiderio da Settignano has entered its final lap of honour.