Giovanni Angelo Montorsoli

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Giovanni Angelo Montorsoli
Michelangelo Buonarroti
Known forsculpture
Fountain of Orion in Messina.

Giovanni Angelo Montorsoli (1507

Servite friar
. He is today as often remembered for his restorations of famous classical works as his original creations.

Early life

Giovanni Montorsoli was born in 1507 at Montorsoli, now in the

Biblioteca Medicea Laurenziana at the Basilica of San Lorenzo in Florence.[1] Montorsoli is known to have sculpted St. Cosmas with another of Michelangelo's assistants, Raffaello da Montelupo, after a model by the master. He became a friar of the Servite Order
, but continued to work as a sculptor.

Work

In 1532-1533 he produced his Drunken Satyr. This sculpture was probably intended for a wall fountain, possibly situated in a niche where the water would have flown from the open neck of the satyr's wineskin. This would have been in a style very popular at the time in Rome. Due to the large number of ancient sculptures in Rome, these tended to be utilised rather than commissioning a new figure. However, in Florence ancient statuary was much less common. Montorsoli's Satyr, with its classical theme and distinctly classical style, was intended to fill the void.

The Orion Fountain (detail)

In 1532 he was summoned by

Belvedere Apollo
. Restoration methods in that era entailed reworking sculptures in accordance with contemporary principles which often were at odds with the aesthetics of antiquity. For instance, Montorsoli included a new right arm in the central figure of the Laocoön group, upraised in a gesture of defiance, adding much to the fame of the sculpture and himself. However, when the original limb was found in 1905 in Rome and reattached to the Laocoön sculpture, replacing Montorsoli's work, the original was revealed to be folded at the elbow with considerably less flourish.

In 1547 he left Florence, and went to

Tribolo, but it has evolved. The receiving basin is polygonal, contrasting with the circular basins above. The sculpted creatures supporting the second basin are carved in deep relief, but the female nudes above them appear to be carved in the round. They have become sculptures in their own right, and are not just there to decorate the shaft, or to draw the eye upwards to the figure at the summit. This is the candelabrum type at its pinnacle. On polygonal basin's rim are the statues of four river gods (Tiber, Nile, Camaro and Ebro) with Latin inscriptions by the scientist-humanist Francesco Maurolico who, probably, was also the creator of most of the Neoplatonic-alchemical program for the fountain.[4] On the perimeter are eight oval reliefs, all with subjects taken from Ovid's Metamorphoses.[5]
In 1553 this fountain was finished, and he was commissioned for another fountain - the Fountain of Neptune.

Neptune

This was a complete break with tradition with regards to fountain design. Previously fountains had mainly been either a basin with a small figure, such as

Interdisciplinary Regional Museum of Messina) is completely different. It is a fountain type with one main raised central figure, and this type had never been done before. The only precedent for it was a design by Benvenuto Cellini for the French King at Fontainebleau
. In the middle of the fountain Cellini wanted to erect a "pedestal, projecting somewhat above the margin of the basin, and upon this a nude male figure" which was to represent the King himself as Mars. This never came into being though, and therefore the Neptune at Messina is the first of its type.

The Fountain of Neptune makes good use of contrasts. The God of the Sea is arranged in a classical, static pose. Yet below him the figures of the sea monsters

Ammanati's Neptune Fountain in the Piazza della Signoria. Florentine fountains excelled in designing fountains with many small thin elegant jets of water, even when there was enough water to have a large geyser. Montorsoli carried this Florentine tradition of having smaller, elegant jets, and judging from a design of his in the Uffizi he used eight of them for his design for the Neptune fountain. The Fountain of Neptune was finished in 1557. In Messina he also realized the church of San Lorenzo (from 1552; destroyed in the earthquake of 1783
), the Lantern Tower (1555) and the Apostolate within the Cathedral (completed in 1555, was destroyed several times by fires and earthquakes, and then was rebuilt).

Montorsoli left some of his works in

San Matteo, commissioned by Andrea Doria, for his tomb and some sculptures. Among his pupils were Giovanni Angelo Lottini and Giovanni Vincenzo Casali
.

The Accademia delle Arti del Disegno

Montorsoli was instrumental in the foundation in 1562–1563 of the

Cosimo I de' Medici, Grand Duke of Tuscany, and with the support of Giorgio Vasari. The first meeting was held on 13 January 1563. Montorsoli died on 31 August of the same year.[6]

See also

References

  1. ^ a b c d Montórsoli, Giovanni Angelo (in Italian). Enciclopedie on line. Rome: Istituto della Enciclopedia Italiana. Accessed September 2014.
  2. ^ a b Enrico Mauceri (1934). MONTORSOLI, Giovanni Angelo (in Italian). Enciclopedia Italiana. Rome: Istituto della Enciclopedia Italiana.
  3. ^ Giorgio Vasari (1568). Delle vite de' piv eccellenti pittori, scvltori, et architettori (in Italian). Florence: Giunti. p. 608–624.
  4. ^ Russo, Attilio (2001). La fontana del Sirio d’Orione, o delle metamorfosi, in "Città & Territorio", II/2001, Messina 2001, pp. 30-41.
  5. ^ Russo, Attilio (1997). L’Accademia della Fucina di Messina: una società segreta esistente già dal primo decennio del secolo XVII , in "Archivio Storico Messinese", LXXIII, Messina 1997, pp.139-172, especially 161-169.
  6. doi:10.2307/2539556
    (subscription required)

Further reading

New International Encyclopedia article about "Giovanni Angelo Montorsoli
".
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