Rossellino

Rossellino

 

a family of Early Renaissance Italian sculptors and architects.

Bernardo Rossellino. Born in 1409 in Settignano, Tuscany; died Sept. 23, 1464, in Florence. Architect and sculptor.

B. Rossellino collaborated with L. B. Alberti in the construction of the Rucellai Palace in Florence (1446–51). His principal architectural work was the planning and building of the city of Pienza (from 1459), which was the first municipality to embody the humanist concept of an “ideal city.” Among the buildings in Pienza designed by Rossellino is the Piccolomini Palace (1460–64). The clarity and balance distinctive of Rossellino’s architecture are also evident in his sculpture, such as the much-imitated tomb of L. Bruni in the Church of Santa Croce in Florence (marble, 1446–47).

Antonio Rossellino. Born in 1427 in Settignano, Tuscany; died circa 1479 in Florence. Sculptor. Brother and pupil of B. Rossellino.

The sculpture of A. Rossellino, such as Portrait of Giovanni Chellini (1456, marble, Victoria and Albert Museum, London) and the altar of St. Sebastian in the collegiate church in Empoli, Tuscany (c. 1470, marble), is freer in composition than that of his brother. His works are noted for a delicate, painterly modeling of faces and garments.

REFERENCE

Planiscig, L. Bernardo und Antonio Rossellino. Vienna [1942].
References in periodicals archive ?
4) attributed to Bernardo Rossellino or Antonio Rossellino, both in the museum's permanent collection.
3)--by Antonio Rossellino and Desiderio da Settignano, respectively--Florentine sculptors portrayed outer likeness and inner character with an accomplishment unknown since antiquity.
Bernardo Rossellino (20) (Settignano: 1409-Florencia: 1464) fue ese profesional que ideaba y dirigia las obras, de modo lucido y con total solvencia como para asumir y resolver, como un consumado y excelente architetto-artigiano, los autenticos retos que, digamos "sobre la marcha", Pio II le fue imponiendo, como luego senalare.
Stephen, and the Virgin by Pasquino da Montepilciano, Mino da Fiesole, and Antonio Rossellino (1469-1473); the external pulpit at Prato's cathedral done by Donatello and Michelozzo (1433); and Donatello's double pulpits for San Lorenzo in Florence (1466-1472), depicting scenes from the Passion of Christ.
The juxtaposition of soft and harsh sounds in the final moment of Dante's encounter with the nun could be interpreted in relation to her biography: like Philomel's change, Piccarda's loss of virginity was 'rudely forced' by her brother Corso Donati, who removed her from the convent and forced her to marry Rossellino della Tosa, with whom he sought alliance at the time.
Pius's aim, carried out by his architect Bernardo Rossellino, was to transform the medieval village into a noble, city-state.
Appleby's Chesbury or sample Italian Pecorino Rossellino, a delightful sheep's milk cheese, or maybe savor a taste of Ireland's luscious Coolea.
The artists whose works are discussed, explained and so beautifully illustrated contain some of the greatest names in the civilised world: in addition to Donatello we have the works of Bernardo and Antonio Rossellino, Amadeo, Verrocchio, Ghiberti and Luca della Robbia.
It was here that Pius and his chosen architect, the Florentine Bernardo Rossellino, concentrated the most noticeable part of their efforts at urban renewal as they imposed a monumental core of buildings upon the town.
32) At the same church, Fra Sebastiano Benintendi commissioned Bernardo Rossellino and his workshop to make a sculpted wall tomb for his grandmother, the Blessed Villana delle Botti (d.
The point is well made in Washington by juxtaposing a Madonna and Child relief by Antonio Rossellino with the Panciatichi Madonna, demonstrating the depth of excavation of the marble employed by Rossellino, with the Virgin's hand and the Child's right leg emerging fully from the plane.
Sculptors like Antonio Rossellino, Mino da Fiesole, and Benedetto da Maiano, who have regularly been cited in prior discussions of the interaction of the arts, are given somewhat short shrift, but then this exhibition took as its point of departure the painting collections of the National Gallery, for which these artists had less importance.