Jacopo Sansovino


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Sansovino, Jacopo

(yä`kōpō sänsōvē`nō), 1486–1570, Italian sculptor and architect of the Renaissance. His surname was taken in place of his own, Tatti, as homage to the Florentine sculptor Andrea SansovinoSansovino, Andrea
, c.1460–1529, Florentine sculptor and architect of the High Renaissance, b. Monte Sansavino. His real name was Andrea Contucci. He trained under Antonio Pollaiuolo and worked in Florence, Rome, and Loreto.
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, under whom he was apprenticed. After early years devoted to sculpture, he was architect of several buildings in Rome and in 1527 moved to Venice, importing to that city the classic manner of high Roman Renaissance architecture. In Venice, besides his masterpiece, the Library of St. Mark's (designed 1536) in the Piazza San Marco, he built the Palazzo Corner della Ca' Grande, the mint, the loggia at the base of the great campanile, and several churches. His versatility as a sculptor is realized in his creation of the supple figure Apollo and the three other imposing statues in the niches of the campanile: Minerva, Mercury, and Peace. Among his other sculptural works are the gigantic Mars and Neptune outside the Doge's palace.

Sansovino, Jacopo

 

(real surname, Tatti). Born July 2, 1486, in Florence; died Nov. 27, 1570, in Venice. Italian architect and sculptor of the High and Late Renaissance.

Sansovino studied in Florence under A. Sansovino. He worked in Rome from 1503 to 1510 and from 1518 to 1527. He worked in Florence from 1510 to 1518. Beginning in 1527 he worked in Venice and Padua, becoming chief architect of the Republic of Venice in 1529.

Sansovino’s major architectural works are in Venice. In 1534 he built the church of San Francesco della Vigna, which now has a facade built by A. Palladio in 1572. His other buildings in Venice include the Libreria Vecchia at St. Mark’s (1536–54), the Mint (begun in 1536), the Palazzo Cornero della Ca’ Grande (begun in 1532), and the Logetta in St. Mark Square (begun in 1537). These buildings are distinguished by rich, full contours, opulent sculptural molding and painted ornament, but Sansovino carefully subordinated all decoration to the principles of tectonics. Sansovino’s sculpture successfully combines striking chiaroscuro modeling with refined and expressive imagery. Examples include Bacchus (marble, 1518, National Museum, Florence), four statues on the facade of the Logetta in Venice (bronze, 1540–45), and the statue of the physician T. Rangone on the facade of the Church of San Giuliano in Venice (bronze, 1554).

REFERENCES

Weihrauch, H. R. Studien zum bildnerrischen Werke des Jacopo Sansovino. Strasbourg, 1935.
Tafuri, M. Jacopo Sansovino e l’architettura dell’ 500 a Venezia. Padua, 1969.
References in periodicals archive ?
In "Venetian Epilogue: Jacopo Sansovino from Inventio to Consuetudo," Tafuri turns to the transplantation of a Tuscan-trained architect to the foreign soil of Venice.
This carefully researched, thoughtfully organized work suggests that the renovatio urbis of Venice, a term usually associated with the splendor promulgated by the sixteenth-century Doge Andrea Gritti and expressed first by Jacopo Sansovino and then Andrea Palladio, began in spirit and in stone in the preceding century.
A good example here is Mauro Codussi's last palace (now the municipal casino), designed in 1502 in close collaboration with the Venetian patrician Andrea Loredan: with its insistent and precocious monumentality, it heralds a new direction in the development of architect-patron relations that would bear its full fruit after 1527 when Jacopo Sansovino arrived in the metropolis and began rebuilding Piazza San Marco for doge Andrea Gritti.
Cooper argues that Palladio's acceptance by these patrician ecclesiastics, as well as his close relationship to the noble Daniele Barbaro, patriarch-elect of Aquileia--for whose translation of Vitruvius (1556) Palladio provided illustrations and advice--led to the acceptance of Palladio's newly rigorous brand of classical architecture in a city dominated by the more richly decorated, and less systematically proportioned, classical buildings of Jacopo Sansovino.
Michelangelo, Raphael, Jacopo Sansovino, Cellini, Salviati, Vasari: what, other than Bindo Altoviti's patronage, could have allowed such a dream team of names in an exhibition?
In the previous year Gabriel, along with Jacopo Sansovino, had evaluated the paintings for an altar designed by Serlio in the church of the Madonna della Galliera in Bologna.
The title could mean master supervisor of an individual building project or the chief building official for various government agencies, which could exert maj or influence over civic architecture, often a force for tradition, with the important exception of Jacopo Sansovino (although as his renovatio romano was absorbed it became a new standard to be challenged).
In the 1530s, Ammannati spent crucial formative years in the Veneto, where as an assistant to Jacopo Sansovino he came into contact with important representatives of Venetian humanism.
Danese Cataneo, usually overshadowed by his prolific and famous mentor, Jacopo Sansovino, is one such artist.
The masters whose works contain representations of the fable include Perugino, Giulio Romano, Bronzino, and Jacopo Sansovino.
But this relative obscurity is undeserved, considering that the prime element of the decoration consists of a highly ambitious series of nine large-scale marble reliefs by several of the leading figures in Venetian Cinquecento sculpture, including Tullio and Antonio Lombardo, Jacopo Sansovino, Danese Cattaneo and Girolamo Campagna.