Antonio Giuseppe Sartori

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Antonio Giuseppe Sartori (born August 21, 1714 in Castione , † August 16, 1792 in Vienna ) was a sculptor and architect of the late Baroque and Rococo .

Life

Antonio Giuseppe came from a family that had worked in Castione for several generations as a stonemason and sculptor. He learned the craft of stonemasonry in the workshop of his father Rocco before going to Rome and doing sculpture and architecture. He returned to his hometown around 1738 and worked first for his father and later for his older brother Domenico , who had taken over the workshop after his father's death.

Gries Collegiate Church (1769–1771)

His early years were characterized by working with his brother, although it is not always possible to determine which work was carried out by which of the two brothers and which role they played in the individual projects. In this early period, among other things, the work on the high altar of the Cathedral of Trento and other altar works, including in the Archparish Church of San Marco in Rovereto, fell .

His works at this time show influences from Venetian and Roman masters, but the work of the brothers Andrea and Jacopo Antonio Pozzo also influenced him. In later years, influences from the German-speaking area can also be seen in his work.

The collaboration with his brother Domenico ended around 1744 when he alone signed the orders for the work on the Neustift monastery near Bressanone , which led to a series of follow-up orders and only culminated in the 1770s with the construction of the monastery library . At this time Sartori had already turned more and more to architecture, even if he continued to work as a sculptor.

In 1754, for example, he designed the new facade of the parish church of San Giovanni Battista in Sacco near Rovereto. A number of other church buildings followed, which also show the influences of the Roman architects Carlo and his son Francesco Fontana . Probably his most important work is the collegiate church of the Augustinian Canons in Gries near Bozen , built according to his plans between 1769 and 1771, known as Muri-Gries Abbey since the middle of the 19th century . In Gries, influences from master builders north of the Brenner, such as Johann Michael Fischer and Balthasar Neumann, can be seen . According to Rasmo, the collegiate church of Gries is an important example of the combination of classicist elements with those of the Rococo.

Sartori's work is characterized by constant adaptation to the prevailing style. In his later works a gradual transition to classicism can be observed, which was strongly influenced by his stays on the other side of the Alps in the last two decades of his life. In 1775 he worked for the Neresheim Abbey , for which he received an order for the stucco decorations and sculptures for the monastery church. He had already been in Innsbruck in 1766 when he was commissioned by Maria Theresa to create a group of sculptures for the Hofburg chapel in honor of her late husband Franz I Stephan . He carried out his last known work from 1778 in Hungary in Pécs and for the Bishop of Erlau , including the cenotaph for Bishop György Klimò in 1784 and work for the Cathedral of St. Peter and Paul in Pécs.

Antonio Giuseppe Sartori died in Vienna in 1792.

Works (selection)

  • High altar in the Cathedral of Trento (1738)
  • High Altar Stiftskirche Neustift (1744)
  • Facade of the parish church in Sacco (1752–1754)
  • Sculpture group in the chapel of the Hofburg in Innsbruck (1766)
  • Collegiate Church of Gries Abbey (1769–1771)
  • Reading room of the Neustift monastery library (1771)

literature

  • Andrea Bacchi, Luciana Giacomelli (eds.): Scultura in Trentino. Il Seicento e il Settecento: volume secondo . Provincia Autonoma di Trento, Trento 2003. ISBN 88-86602-55-3
  • Nicolò Rasmo : Storia dell'arte in Trentino. Trento 1982.

Web links

Commons : Antonio Giuseppe Sartori  - collection of images, videos and audio files

Individual evidence

  1. a b c d Giuseppe Sava:  Antonio Giuseppe Sartori. In: Dizionario Biografico degli Italiani (DBI).
  2. a b c Nicolò Rasmo: Storia dell'arte in Trentino p. 293
  3. Andrea Bacchi, Luciana Giacomelli (ed.): Scultura in Trentino. Il Seicento e il Settecento: volume secondo pp. 305–308
  4. Andrea Bacchi, Luciana Giacomelli (ed.): Scultura in Trentino. Il Seicento e il Settecento: volume secondo pp. 311-312