Pietro Antonio Daverio: Difference between revisions
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{{Short description|17th century Italian sculptor}} |
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{{Infobox artist |
{{Infobox artist |
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| name = Pietro Antonio Daverio |
| name = Pietro Antonio Daverio |
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| movement = |
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| spouse = Margherita Brambilla |
| spouse = Margherita Brambilla |
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'''Pietro Antonio Daverio''' (Milan, 1564 - Milan, 1621–1622) was an Italian sculptor. |
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[[File:4399 - Milano, Duomo - Monumento (1611) Consacrazione 1577 - Pietro Daverio, Il Tempo - Foto Giovanni Dall'Orto - 14-july-2007.jpg|thumb|Duomo di Milano- Monumento (1611) Consacrazione 1577 - Pietro Daverio, Il Tempo]] |
[[File:4399 - Milano, Duomo - Monumento (1611) Consacrazione 1577 - Pietro Daverio, Il Tempo - Foto Giovanni Dall'Orto - 14-july-2007.jpg|thumb|Duomo di Milano- Monumento (1611) Consacrazione 1577 - Pietro Daverio, Il Tempo]] |
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==Biography== |
==Biography== |
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Very little is known about his early life. He might have been born in the [[basilica of San Babila]] in Milan in 1564. He was a pupil of [[Francesco Brambilla]] whose daughter Margherita he married<ref>{{cite book|access-date=9 April 2017|author=Gaetano Franchetti|date=1821|publisher=editore Gio Giuseppe De Stefanis|title=Storia e descrizione del duomo di Milano|url=https://books.google. |
Very little is known about his early life. He might have been born in the [[basilica of San Babila]] in Milan in 1564. He was a pupil of [[Francesco Brambilla]] whose daughter Margherita he married<ref>{{cite book|access-date=9 April 2017|author=Gaetano Franchetti|date=1821|publisher=editore Gio Giuseppe De Stefanis|title=Storia e descrizione del duomo di Milano|url=https://books.google.com/books?id=E7lIAAAAcAAJ&dq=antonio+daverio+duomo+di+milano&pg=PA64}}<!-- auto-translated by Module:CS1 translator --></ref> and by whom he had more children, his sister Vittoria married the painter [[Aeneas Salmeggia]]. |
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His activity as a sculptor is documented from [[1588]] on the ''Annals of the factory of the cathedral of Milan'' with a payment ''To magistro Pietro Antonio Daverio , qual ha finito la statua di s. Gervasio incominciata dal Padoano , qual è morto avanti il finimento di essa, 1. 180.'' given the lack of information about his apprenticeship, it is assumed that the sculptor had his artistic training precisely in the great construction site of the [[Milan Cathedral]], where he is reported to have been present until [[1619]], producing many works. |
His activity as a sculptor is documented from [[1588]] on the ''Annals of the factory of the cathedral of Milan'' with a payment ''To magistro Pietro Antonio Daverio , qual ha finito la statua di s. Gervasio incominciata dal Padoano , qual è morto avanti il finimento di essa, 1. 180.'' given the lack of information about his apprenticeship, it is assumed that the sculptor had his artistic training precisely in the great construction site of the [[Milan Cathedral]], where he is reported to have been present until [[1619]], producing many works. |
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His ability to finish and interpret the works of other sculptors more renowned than him including [[Francesco Brambilla]], led him to always be a minor part of the Milanese factory. In 1595 he was commissioned to make a bust representing [[Charles Borromeo]] for the Maggiore hospital in Milan, the bust was made in 1603, the work is sober but well executed, although the subject was depicted several times, and it was obligatory to make a likeness portrait of him, he knew how to give it originality by animating the cope and the bishop's mitre with decorative details<ref>{{cite web|access-date=4 April 2017|author=Cristina Casero|publisher=Lombardia beni culturali|title=San Carlo Borromeo, Antonio Daverio|url=http://www.lombardiabeniculturali.it/opere-arte/schede/3n010-00615/}}<!-- auto-translated by Module:CS1 translator --></ref> |
His ability to finish and interpret the works of other sculptors more renowned than him including [[Francesco Brambilla]], led him to always be a minor part of the Milanese factory. In 1595 he was commissioned to make a bust representing [[Charles Borromeo]] for the Maggiore hospital in Milan, the bust was made in 1603, the work is sober but well executed, although the subject was depicted several times, and it was obligatory to make a likeness portrait of him, he knew how to give it originality by animating the cope and the bishop's mitre with decorative details.<ref>{{cite web|access-date=4 April 2017|author=Cristina Casero|publisher=Lombardia beni culturali|title=San Carlo Borromeo, Antonio Daverio|url=http://www.lombardiabeniculturali.it/opere-arte/schede/3n010-00615/}}<!-- auto-translated by Module:CS1 translator --></ref> |
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| ⚫ | A few years later he was commissioned to make a bust of [[Francesco Sforza]], for which there is evidence of a payment of 180 lire in 1606. The subject was identifiable only on iconographic documentation and not from a direct source, but Daverio managed to give a correct image of him, enclosed in his embroidered armor enclosed within a cloak knotted on his shoulders, his face with a sweet expression is furrowed by the wrinkles of age that weigh down his features. The bust was saved from the bombing during World War II.<ref>{{cite web|access-date=4 April 2017|author=Cristina Casero|title=Francesco Sforza|url=http://www.lombardiabeniculturali.it/opere-arte/schede/3n010-00608/}}<!-- auto-translated by Module:CS1 translator --></ref> |
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| ⚫ | A few years later, he was commissioned to make a bust of [[Francesco Sforza]], for which there is evidence of a payment of 180 lire in 1606. The subject was identifiable only on iconographic documentation and not from a direct source, but Daverio managed to give a correct image of him, enclosed in his embroidered armor enclosed within a cloak knotted on his shoulders, his face with a sweet expression is furrowed by the wrinkles of age that weigh down his features. The bust was saved from the bombing during World War II.<ref>{{cite web|access-date=4 April 2017|author=Cristina Casero|title=Francesco Sforza|url=http://www.lombardiabeniculturali.it/opere-arte/schede/3n010-00608/}}<!-- auto-translated by Module:CS1 translator --></ref> |
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| ⚫ | He always remained faithful to his late Mannerist training by Brambilla, and although he became [[Gian Andrea Biffi]]'s comprimario for the creation of the statue of the ''Pieta'' to be placed on the funeral monument of [[Pellegrino Tibaldi]], he never allowed himself to be influenced by the more restless style of the young Milanese<ref>{{DBI| nome = DAVERIO, Pietro Antonio| nomeurl =| autore = Alda Guarnaschelli| anno = 1987| pagine = | volume = 33| accesso = 25 aprile 2021}}</ref> |
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The last commissions appear to be two statues depicting a saint Cancianilla and a saint Pelagia, again from the annals it appears that payment for this last work was collected by his son Charles after his death at the turn of |
The last commissions appear to be two statues depicting a saint Cancianilla and a saint Pelagia, again from the annals it appears that payment for this last work was collected by his son Charles after his death at the turn of 1621–1622. |
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==References== |
==References== |
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{{Reflist}} |
{{Reflist}} |
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{{authority control}} |
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{{DEFAULTSORT:Daverio, Pietro Antonio}} |
{{DEFAULTSORT:Daverio, Pietro Antonio}} |
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[[Category:1564 births]] |
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[[Category:1621 deaths]] |
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[[Category:17th-century Italian sculptors]] |
[[Category:17th-century Italian sculptors]] |
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Latest revision as of 08:53, 30 October 2023
Pietro Antonio Daverio | |
|---|---|
| Born | 1564 |
| Died | 1621 or 1622 |
| Known for | Sculptor |
| Spouse | Margherita Brambilla |
Pietro Antonio Daverio (Milan, 1564 - Milan, 1621–1622) was an Italian sculptor.
_Consacrazione_1577_-_Pietro_Daverio,_Il_Tempo_-_Foto_Giovanni_Dall%27Orto_-_14-july-2007.jpg)
Biography
[edit]Very little is known about his early life. He might have been born in the basilica of San Babila in Milan in 1564. He was a pupil of Francesco Brambilla whose daughter Margherita he married[1] and by whom he had more children, his sister Vittoria married the painter Aeneas Salmeggia.
His activity as a sculptor is documented from 1588 on the Annals of the factory of the cathedral of Milan with a payment To magistro Pietro Antonio Daverio , qual ha finito la statua di s. Gervasio incominciata dal Padoano , qual è morto avanti il finimento di essa, 1. 180. given the lack of information about his apprenticeship, it is assumed that the sculptor had his artistic training precisely in the great construction site of the Milan Cathedral, where he is reported to have been present until 1619, producing many works.
His ability to finish and interpret the works of other sculptors more renowned than him including Francesco Brambilla, led him to always be a minor part of the Milanese factory. In 1595 he was commissioned to make a bust representing Charles Borromeo for the Maggiore hospital in Milan, the bust was made in 1603, the work is sober but well executed, although the subject was depicted several times, and it was obligatory to make a likeness portrait of him, he knew how to give it originality by animating the cope and the bishop's mitre with decorative details.[2]
A few years later, he was commissioned to make a bust of Francesco Sforza, for which there is evidence of a payment of 180 lire in 1606. The subject was identifiable only on iconographic documentation and not from a direct source, but Daverio managed to give a correct image of him, enclosed in his embroidered armor enclosed within a cloak knotted on his shoulders, his face with a sweet expression is furrowed by the wrinkles of age that weigh down his features. The bust was saved from the bombing during World War II.[3]
He always remained faithful to his late Mannerist training by Brambilla, and although he became Gian Andrea Biffi's comprimario for the creation of the statue of the Pieta to be placed on the funeral monument of Pellegrino Tibaldi, he never allowed himself to be influenced by the more restless style of the young Milanese[4]
The last commissions appear to be two statues depicting a saint Cancianilla and a saint Pelagia, again from the annals it appears that payment for this last work was collected by his son Charles after his death at the turn of 1621–1622.
References
[edit]- ^ Gaetano Franchetti (1821). Storia e descrizione del duomo di Milano. editore Gio Giuseppe De Stefanis. Retrieved 9 April 2017.
- ^ Cristina Casero. "San Carlo Borromeo, Antonio Daverio". Lombardia beni culturali. Retrieved 4 April 2017.
- ^ Cristina Casero. "Francesco Sforza". Retrieved 4 April 2017.
- ^ Dizionario Biografico degli Italiani, Volume 33: D'Asaro–De Foresta (in Italian). Rome: Istituto dell'Enciclopedia Italiana. 1987. ISBN 978-8-81200032-6.
