Maria Cristina Chiusa
(fl c. 1393; d 1427).
Italian sculptor and architect, sometimes confused with Andrea (di Piero) Ferrucci (1465–1526), who was also known as Andrea da Fiesole. The only work that can definitely be attributed to the earlier of the two sculptors is the tomb of Bartolomeo da Saliceto (1412; ex-S Domenico, Bologna; Bologna, Mus. Civ. Med.), which is dated and signed opus Andreae de Fesulis. Saliceto was a reader in law at Bologna University, and the tomb sculpture represents him among his pupils. Motifs and facial types are borrowed directly from the tombs in the Bolognese tradition of Giovanni di Legnano (1383) by Pierpaolo dalle Masegne and of Carlo, Roberto, and Riccardo Saliceto (1403; both Bologna, Mus. Civ. Med.), a work indebted to Masegne, but despite this Andrea’s Tuscan origins remain apparent. Gnudi was of the opinion that Andrea da Fiesole was in Florence until c. 1410. However, Andrea subsequently moved away from the Tuscan Renaissance tradition towards a northern Gothic style, following his contact with Venetian–Emilian sculpture. This can be seen in the tomb of ...
Kim W. Woods
[Rouppi; de Rouppy; Rupy]
(fl 1375–6; d 1438).
South Netherlandish sculptor. The name de Rouppy suggests that he was born in the village of Roupy, near Saint-Quentin in the region of Cambrai. He is first documented among the stone-carvers working on the spire of Cambrai Cathedral in 1375–6. In 1386–7 he was paid a salary of 15 francs a month by Jean, Duc de Berry, the first indication that he was in the Duc’s service at Bourges, apparently working with the sculptor André Beauneveu. In 1397 he was referred to as the Duc’s ‘varlet de chambre’, and in 1401–2 as the ‘imagier’ of the Duc, presumably succeeding Beauneveu, who had previously held the post and who died in 1401–3. He received presents from Jean de Berry in 1401 and 1413, and the collar of broom-cods (one of the Duc’s emblems) was bestowed on him by the Duc’s nephew, Charles VI, King of France, in 1403.
In 1449 Jean de Cambrai’s heirs were paid 300 livres for the alabaster effigy of the Duc de Berry that he had carved for the ...
(d Oct 8, 1439).
Netherlandish sculptor, active in France. He was the nephew and follower of Claus Sluter. From his arrival in Dijon in December 1396 he was principal assistant to his uncle on the monumental Calvary group, the Moses Well, commissioned by Philip the Bold, Duke of Burgundy, for the cloister of the Charterhouse in Champmol near Dijon. After Sluter’s death in 1406, de Werve was named ‘tailleur d’ymages et varlet de chambre’ to Duke John the Fearless, a position renewed under Philip the Good. Between 1406 and 1410 he completed the marble and alabaster tomb of Philip the Bold (Dijon, Mus. B.-A.) begun by Jean de Marville and Sluter. De Werve travelled to Savoy in 1408 at the request of Duke Amadeus VIII, possibly to work on the Sainte-Chapelle at Chambéry. He was in Paris in 1411–12 and was sent to Grenoble in 1436 in an (unsuccessful) attempt to find alabaster for the tombs of ...
(b Siena, fl 1392; d ?Perugia, after July 27, 1434).
Italian sculptor and architect. First mentioned in 1392, he was paid for executing a frieze in Siena Cathedral in 1398. Between 1407 and 1425 he served as capomaestro of the workshop at Orvieto Cathedral. He made the octagonal cover for the baptismal font and also worked on the Cappella Nuova in the cathedral. Sano’s individual style is difficult to isolate, since he often worked in collaboration with other Sienese masters. On 10 November 1413 he contracted with Jacopo della Quercia to carve marble elements for the Fonte Gaia in Siena, and in 1416, while still documented as working on the Fonte Gaia, he was also working on the baptismal font in the Baptistery in Siena together with Nanni da Lucca and Giacomo di Corso (c. 1382–after 1427), colleagues with whom he seems to have collaborated on many projects. Sano is also documented in 1428 as one of many masters who assisted in the decoration of the Loggia di S Paolo in Siena. The precise nature of his contribution to these commissions, however, is not specified. As architect and engineer, Sano was involved with the construction of the façade of S Fortunato, Todi, during the early 1430s, and was also responsible for the building of canals and wells in Perugia in ...
(b Frankfurt am Main, c. 1360; d Frankfurt am Main, 1430/31).
German architect and sculptor. He was one of the most important architects of the generation following the Parler family. His work in Frankfurt and the middle Rhine Valley exerted a lasting influence on the Late Gothic architecture and architectural sculpture of the early 15th century, extending over a wide area. His style was influenced by the formal vocabulary of the Parlers, and he ranks as an important exponent of the Schöne Stil c. 1400. He was born into a respected family of stone masons: with his father, Johann, he occupies the second place among stone masons on a list of inhabitants of Frankfurt dated 1387. Presumably he trained in his father’s workshop, and as there is no evidence that he was in Frankfurt between 1387 and 1391 he may have gained wider experience through travel during those years. He probably visited the workshops in Nuremberg, Prague, Ulm, and Vienna, all closely associated with the Parlers. His eventual contact with the art of the Burgundian court is now considered less significant....
(d c. 1417–20).
Goldsmith, sculptor, and painter, probably of German origin. None of his works is known to have survived, but he is mentioned twice in mid-15th-century texts: in the second book of Lorenzo Ghiberti’s Commentarii and in the manuscript of the Anonimo Magliabecchiano. Both texts relate that Gusmin died during the reign of Pope Martin (i.e. Martin V, reg 1417–31), in the year of the 438th Olympiad (i.e. between 1415 and 1420). He worked in the service of the Duke of Anjou, who was forced to destroy Gusmin’s greatest work, a golden altar, in order to provide cash for his ‘public needs’. Gusmin consequently retired to a hermitage where he led a saintly life, painting and teaching young artists. Although it is clear from his account that Ghiberti never knew the master or saw any of his original works, he stated that he had seen casts of his sculptures, which, he said, were as fine as the work of the ancient Greeks, although the figures were rather short. There have been numerous attempts to identify Gusmin with artists, both German and Italian, fitting the account of Ghiberti and the Anonimo Magliabecchiano. Swarzenski first named Gusmin as the author of the alabaster Rimini altar (Frankfurt am Main, Liebieghaus), but this has now been demonstrated to be of Netherlandish workmanship. Krautheimer proposed a convincing reconstruction of Gusmin’s career, suggesting that his Angevin patron was ...
Elinor M. Richter
(fl Siena, 1382–1427).
Italian sculptor and goldsmith. He was married in 1382 and had three sons: Barna, a wood-carver; Lorenzo (b 1407; fl 1456), a goldsmith; and Giovanni, or Nanni (c. 1385–1455), who was also a sculptor and goldsmith. Mentioned in Pisa in 1394, Turino di Sano’s earliest documented work in Siena was the design of an engraved seal with the image of the Virgin (1410; untraced). In 1413 he was commissioned to execute a silver statue of St Crescentius (untraced) for Siena Cathedral.
On 16 April 1417 he and his son Giovanni di Turino were authorized to design two bronze reliefs for the Siena Baptistery font (in situ), which were not delivered until July 1427. The two reliefs depict the Birth of St John the Baptist (c. 1417–18) and St John the Baptist Preaching (c. 1419–20) and are both relatively conservative in design and eclectic in nature. Evident familiarity with current developments in Florence can be seen in the ...
Sara Jane Pearman
[Celoistre, Claux; de Slutere, Claes; de Slutere, Claves; Slutre, Claux]
(b Haarlem, c. 1360; d Dijon, before Feb 1406).
Netherlandish sculptor, active in Burgundy. He formulated the 15th-century Burgundian style and strongly influenced northern Renaissance sculpture ( see fig.). The name Claes de Slutere van Herlam appears in the guild list of the Brussels stone-cutters and masons about 1379. After possibly training in a family workshop in Haarlem, his formal training probably took place after he arrived in Brussels. This would make a birth date of c. 1360 more probable than 1340, as has been suggested. The various changes in the spelling of Sluter’s name, his continued association with contemporaries in the guild list, and the influence of Brussels artists on his work, all indicate that he spent a considerable length of time there.