Through innovative, clean and intricate craftsmanship, Michelozzo carved himself a legacy—one that has reverberated throughout the streets of Italy ever since.
Michelozzo di Bartolomeo () was an Italian architect and sculptor. His vast contribution to the early Renaissance movement solidified him as one of the most prolific architects of all time. His ingenuity helped pave the way for the development of the central palazzo configuration that defines the visage of Italy—even to this day.
Michelozzo was born in Florence the son of a tailor. Very little is known about the architect’s childhood apart from the fact that he was bred into a relatively wealthy family. From a young age, he became very skilled at casting bronze, an expertise that would lead to two outstanding partnerships during his career.
The first occurred in the early s with accomplished goldsmith and sculptor, Lorenzo Ghiberti. One of Michelozzo’s most prominent projects with Ghiberti was the North Doors () of the Baptistery, which depict stories told in the New Testament.
The second of his partnerships was with Donato di Niccolò di Betto Bardi, better known as Donatello. Under his tutelage, Michelozzo a
Michelozzo
(Michele o Michelozzo di Bartolomeo Michelozzi; Florencia, ) Arquitecto y escultor italiano. Si correspondió a Filippo Brunelleschi sentar las bases de la arquitectura renacentista y a Leon Battista Alberti establecer sus fundamentos teóricos, habría que ver en Michelozzo al arquitecto que supo adaptar los nuevos planteamientos a las necesidades del patriciado florentino, cultivando, al mismo tiempo, un estilo independiente y personal.
Michelozzo
De cuna mucho más humilde que la de Brunelleschi (su padre era un sastre originario de Borgoña), Michelozzo di Bartolomeo Michelozzi comenzó trabajando como troquelador de monedas y posteriormente aprendió escultura en contacto con Lorenzo Ghiberti. Como escultor, su nombre aparece asociado con el de Donatello, de quien pudo ser alumno; a lo largo de la década de los veinte colaboró con él en diversas obras de envergadura, de las que no ocuparemos tras examinar sus creaciones arquitectónicas.
Su primer proyecto maduro fue el conjunto del convento de San Marcos (), encomendado por Cosme de Médicis el Viejo, patriarca de los Médi
Scultore, architetto e fonditore
Discepolo del Brunelleschi e del Ghiberti, architetto di fiducia dei Medici e collaboratore di Donatello. Nel , col Ghiberti, lavora a Orsanmichele ed alla Porta Nord del Battistero. In seguito, con Donatello, esegue una nicchia esterna per Orsanmichele ( ca.), il sepolcro dell'Antipapa Giovanni XXIII nel Battistero e la tomba Aragazzi a Montepulciano. La sua opera maggiore, sempre in collaborazione con Donatello, è il Pulpito esterno del Duomo di Prato (). Ma le sue capacità si rivelano in pieno quando Cosimo il Vecchio gli affida il rifacimento della Chiesa e del Convento di San Marco (), da poco passati ai domenicani: qui, sotto l'influenza del Brunelleschi, realizza la sacrestia e trova nuove soluzioni formali per il Convento (corridoio delle celle) e per la biblioteca, uno degli ambienti più caratteristici dell'architettura rinascimentale.
Palazzo Medici Riccardi
Cortile interno
Segue la commissione per il Palazzo Medici (), la nuova casa che Cosimo il Vecchio vuole erigere in via Larga per la sua famiglia e che, secondo i principi che regolano la sua vita pubblica, non deve essere così ri
MICHELOZZO DI BARTOLOMMEO ()
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Architecte et sculpteur florentin, Michelozzo di Bartolommeo se forme, très jeune, dans les ateliers de la monnaie de Florence et collabore avec Ghiberti à la première porte du Baptistère, puis au Saint Matthieu d&#;Or San Michele. Il s&#;associe ensuite avec Donatello, travaillant notamment à la réalisation des œuvres en bronze dont celui-ci est chargé : le Saint Louis d&#;Or San Michele, le tombeau du pape Jean XXIII, la chaire de Prato. Moins soucieux que lui de pittoresque, Michelozzo s&#;attache davantage à l&#;élaboration d&#;un répertoire décoratif, inédit dans les éléments d&#;architecture, accompagnant statues et bas-reliefs, au tabernacle d&#;Or San Michele par exemple.
Son œuvre d&#;architecte est plus originale. Il travaille d&#;abord à Venise, où il a suivi Cosme de Médicis en exil (). Aucune de ses réalisations vénitiennes ne nous est parvenue. Rentré à Florence, il est chargé de la construction du couvent et de l&#;église de Saint-Marc, édifices de la plus grande simplicité que viendront enrichir les peintures de Fra Angelico. Il participe avec Alberti à l&#;église de l&#;Annunziata de Florence.
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