Pietro Cavallini


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Cavallini, Pietro

 

(actually Pietro dei Cerroni). Born circa 1240– in Rome; died there circa 1330. Italian painter, representative of proto-Renaissance art.

Cavallini created mosaics on the themes from the life of Mary in the church of Santa Maria in Trastevere, Rome (1291). He painted frescoes in the church of Santa Cecilia in Trastevere (c. 1293; fragments of the Last Judgment remain), and in the church of Santa Maria Donna Regina in Naples (1316–20; with assistants). While basing his work on the tradition of ancient painting, Cavallini was the first to move from the canons of Byzantine art. He gave his subjects corporeality and volume, modeling the forms with chiaroscuro and color. His work exerted a great influence on early 14th-century Italian artists, including his contemporary Giotto.

REFERENCES

Skvortsov, A. “Freski Kavallini.” Sofia 1914, no. 3.
[Toesca, P.] Pietro Cavallini. Milan, 1959.[11–-5]
References in periodicals archive ?
It was once thought that these splendid paintings were by Giotto himself, but it is now believed they are by artists of the circle of Pietro Cavallini of Rome.
Basing her approach in the work of Arjun Appadurai and Igor Kopytoff on the commodification of the object, Fleck (art history, Saint Louis U., Missouri) also presents an art historical analysis, tracing the origins of the Bible and its illuminator to southern Italy and discussing at length the paintings of Pietro Cavallini. The papal court at Avignon, including the papal palace itself, are also described in detail.
My analysis will focus on the four main clusters of allusion which, taken together, make up this somewhat idiosyncratic and thematically loaded survey of Western art: the frescos of Pietro Cavallini, Michelangelo's Sistine Chapel ceiling and Last Judgement, the classicizing paintings of Pannini, and the architecture and sculpture of the Baroque.
The Gothic period is represented in La Modification by the references to the work of Pietro Cavallini. His fresco of the Last Judgement in Santa Cecilia was 'ce premier secret romain' (p.
While the exploits of Giotto and Arnolfo di Cambio in the Papal capital are reported upon, the original contribution of papal patronage, and the achievements of such Rome-based artists as Jacopo di Torriti and Pietro Cavallini, are sorely missed.