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Bramante, Donato D'Angelo, Fermignano 1444 - 1514There is 1 product.
Donato Bramante
The Italian architect and painter Donato Bramante (1444-1514) was the first High Renaissance architect. He transformed the classical style of the 15th century into a grave and monumental manner, which represented the ideal for later architects.
In the first decade of the 16th century Donato Bramante was the chief architect in Rome, which had just replaced Florence as the artistic capital of Europe because the patronage of Pope Julius II (reigned 1503-1513) attracted all the leading Italian artists to that city. It is particularly the triumvirate of artists—Michelangelo the sculptor and painter, Raphael the painter, and Bramante the architect— who dominated this period, usually called the High Renaissance, and whose influence overwhelmed the following generations.
Donato di Pascuccio d'Antonio, called Bramante, was born in 1444 at Monte Asdruvaldo near Urbino. Nothing is known of the first 30 years of his life. During that period, however, the court of Federigo da Montefeltro at Urbino was a flourishing humanistic and cultural center, attended by artists such as Piero della Francesca, Melozzo da Forll, and Luciano Laurana, who probably influenced the young Bramante. The first notice of Bramante dates from 1477, when he decorated the facade of the Palazzo del Podestàat Bergamo with a frescoed frieze of philosophers.
Lombard Style
In 1481 the engraver Bernardo Previdari issued at Milan a print after a design by Bramante, who had settled there about that time. The major interest of the engraving, which depicts the interior of a partially ruined church, is the careful perspective delineation of the architectural interior. Shortly thereafter Bramante entered into the service of the Sforza rulers of Lombardy as court architect. His first important commission was the reconstruction, beginning in 1482, of the church of S. Maria presso S. Satiro in Milan. As it was a basilica church with transept and dome over the crossing, there was not enough space for a deep choir. Through the ingenious use of sculptural and painted relief in perspective, Bramante feigned a choir. He also built a tall, octagonal sacristy richly decorated in the North Italian manner with relief sculpture covering even the shafts of the classical orders. Bramante also continued to paint, executing frescoes of armed men for the Casa Panigarola and the panel painting Christ at the Column.
In 1488 Bramante was called as consultant to the architects Amadeo and Cristoforo Rocchi for the building of the Cathedral of Pavia, but in 1492 he withdrew from the project with only the crypt completed. Meanwhile in 1490 he submitted an opinion on the project to complete the tiburio, or great crossing vault, of the Gothic Cathedral of Milan, in which he advocated a design conforming to the past style. Although there is no documentary proof, he presumably designed the large, square tribune with apsidal arms added to the Gothic church of S. Maria delle Grazie in Milan, beginning the work in 1492. The interior was made spacious and monumental, and the exterior was completed in the decorative Lombard style. At the same time Bramante began the Canons' Cloister of S. Ambrogio in Milan, whose southern wing alone was built; in 1497 he planned four more cloisters there, of which only the Doric and Ionic Cloisters were completed in the 16th century.
During 1493 Bramante was briefly and mysteriously absent from Milan, as letters of Duke Lodovico Sforza seeking him in Florence and Rome indicate, but Bramante soon returned to the ducal seat at Vigevano. He also wrote some sonnets at this time, which are preserved in a manuscript dated 1497.
Early Roman Style
When the French captured Milan in September 1499 Bramante fled to Rome, where he frescoed the arms of Pope Alexander VI at St. John Lateran, in preparation for the Holy Year of 1500, and explored the Roman antiquities. The impact of the ancient monuments is evident in his cloister of S. Maria della Pace in Rome (1500-1504). The simple gravity and monumentality of the small square court marks a distinct break with the Lombard style and foreshadows the new classicism of High Renaissance Rome. The ground-floor arcade is supported on piers with engaged Ionic pilasters; the upper floor alternates Corinthian columns and piers bearing an architrave.
The tiny circular Tempietto at S. Pietro in Montorio, in Rome (1502), with a Doric colonnade surrounding a small cella closed by a semicircular dome on a tall drum, represents the perfection of Bramante's Roman style. The architect intended the chapel to stand in the center of a circular, colonnaded court to emphasize its self-containment and centralization, but the court was never executed. The church of S. Maria della Consolazione (1504-1617) at Todi, probably executed after Bramante's design, is likewise centralized, being square with semicircular apses. The mass is built up of simple geometric forms capped by a drum and dome. The interior is characterized by a sense of quiet, harmonious spaciousness.
The Italian architect and painter Donato Bramante (1444-1514) was the first High Renaissance architect. He transformed the classical style of the 15th century into a grave and monumental manner, which represented the ideal for later architects.
In the first decade of the 16th century Donato Bramante was the chief architect in Rome, which had just replaced Florence as the artistic capital of Europe because the patronage of Pope Julius II (reigned 1503-1513) attracted all the leading Italian artists to that city. It is particularly the triumvirate of artists—Michelangelo the sculptor and painter, Raphael the painter, and Bramante the architect— who dominated this period, usually called the High Renaissance, and whose influence overwhelmed the following generations.
Donato di Pascuccio d'Antonio, called Bramante, was born in 1444 at Monte Asdruvaldo near Urbino. Nothing is known of the first 30 years of his life. During that period, however, the court of Federigo da Montefeltro at Urbino was a flourishing humanistic and cultural center, attended by artists such as Piero della Francesca, Melozzo da Forll, and Luciano Laurana, who probably influenced the young Bramante. The first notice of Bramante dates from 1477, when he decorated the facade of the Palazzo del Podestàat Bergamo with a frescoed frieze of philosophers.
Lombard Style
In 1481 the engraver Bernardo Previdari issued at Milan a print after a design by Bramante, who had settled there about that time. The major interest of the engraving, which depicts the interior of a partially ruined church, is the careful perspective delineation of the architectural interior. Shortly thereafter Bramante entered into the service of the Sforza rulers of Lombardy as court architect. His first important commission was the reconstruction, beginning in 1482, of the church of S. Maria presso S. Satiro in Milan. As it was a basilica church with transept and dome over the crossing, there was not enough space for a deep choir. Through the ingenious use of sculptural and painted relief in perspective, Bramante feigned a choir. He also built a tall, octagonal sacristy richly decorated in the North Italian manner with relief sculpture covering even the shafts of the classical orders. Bramante also continued to paint, executing frescoes of armed men for the Casa Panigarola and the panel painting Christ at the Column.
In 1488 Bramante was called as consultant to the architects Amadeo and Cristoforo Rocchi for the building of the Cathedral of Pavia, but in 1492 he withdrew from the project with only the crypt completed. Meanwhile in 1490 he submitted an opinion on the project to complete the tiburio, or great crossing vault, of the Gothic Cathedral of Milan, in which he advocated a design conforming to the past style. Although there is no documentary proof, he presumably designed the large, square tribune with apsidal arms added to the Gothic church of S. Maria delle Grazie in Milan, beginning the work in 1492. The interior was made spacious and monumental, and the exterior was completed in the decorative Lombard style. At the same time Bramante began the Canons' Cloister of S. Ambrogio in Milan, whose southern wing alone was built; in 1497 he planned four more cloisters there, of which only the Doric and Ionic Cloisters were completed in the 16th century.
During 1493 Bramante was briefly and mysteriously absent from Milan, as letters of Duke Lodovico Sforza seeking him in Florence and Rome indicate, but Bramante soon returned to the ducal seat at Vigevano. He also wrote some sonnets at this time, which are preserved in a manuscript dated 1497.
Early Roman Style
When the French captured Milan in September 1499 Bramante fled to Rome, where he frescoed the arms of Pope Alexander VI at St. John Lateran, in preparation for the Holy Year of 1500, and explored the Roman antiquities. The impact of the ancient monuments is evident in his cloister of S. Maria della Pace in Rome (1500-1504). The simple gravity and monumentality of the small square court marks a distinct break with the Lombard style and foreshadows the new classicism of High Renaissance Rome. The ground-floor arcade is supported on piers with engaged Ionic pilasters; the upper floor alternates Corinthian columns and piers bearing an architrave.
The tiny circular Tempietto at S. Pietro in Montorio, in Rome (1502), with a Doric colonnade surrounding a small cella closed by a semicircular dome on a tall drum, represents the perfection of Bramante's Roman style. The architect intended the chapel to stand in the center of a circular, colonnaded court to emphasize its self-containment and centralization, but the court was never executed. The church of S. Maria della Consolazione (1504-1617) at Todi, probably executed after Bramante's design, is likewise centralized, being square with semicircular apses. The mass is built up of simple geometric forms capped by a drum and dome. The interior is characterized by a sense of quiet, harmonious spaciousness.
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