Ghiberti and Master Gusmin
1947; College Art Association; Volume: 29; Issue: 1 Linguagem: Inglês
10.1080/00043079.1947.11408449
ISSN1559-6478
Autores Tópico(s)Renaissance and Early Modern Studies
ResumoLORENZO GHIBERTI in the second book of his Commentaries gives a history of art of the Trecento introductory, as it were, to his autobiography.1 Beginning with Cimabue, he discusses in brief biographical sketches the oeuvre of what he would probably have called his ancestors in the realm of art. He deals first with Florentine painters, beginning with Giotto and his disciples, Stefano, Taddeo Gaddi, and Maso; these are followed by Bonamico=Buffalmacco and, after the interpolation of a chapter on the Roman school as represented by Pietro Cavallino, by the brothers Orcagna. The second part is given over to the Sienese masters, to the two Lorenzetti, Simone Martini, Barna da Siena, and Duccio. In a third, very short chapter, the sculptors are discussed, represented by Giovanni Pisano, Giotto, and Andrea Pisano. The choice of this ancestry, the great emphasis given to Sienese artists and among them, in contrast to the general consensus, to Ambrogio Lorenzetti, the stress laid upon painters, the omission of any artist of the second half of the fourteenth century, aside from Orcagna — all this is obviously highly subjective, a personal confession and account of Ghiberti's indebtedness to a group of masters of his own choice.2 Thus it is of no minor importance to find at the very end of the chapter, right before Ghiberti's autobiography, the life story of a mysterious foreigner: Master Gusmin from Cologne.3 The following is Ghiberti's strange tale.
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