He was born to a prominent North Italian family of masons, sculptors and architects. His father Giovanni Battista della Porta was a sculptor. He trained in his uncle's workshop in Genoa and moved to Rome in about 1537, where he was very much influenced by Michelangelo. Della Porta provided legs for the Farnese Hercules when it was first excavated; when the original legs were found some years later, Michelangelo recommended that Della Porta's legs be retained, showing how modern artists were capable of direct comparison with the Ancients. He was appointed to the papal mint in 1547. His prolific output is varied. He began his artistic training under the guidance of his uncle Giovanni Giacomo, who takes him on his construction site of the Cathedral of Milan and assigned him the task of sculpturing and reinterpreting the works of Leonardo da Vinci[1] until about 1530. Later he moved with his uncle to Genoa where he perfected his design under the guidance of the painter Perin del Vaga in the works for Villa del Principe, Palazzo di Andrea Doria.
Genoa Cathedral, Chapel of Peter and Paul. Main altar, 1534-37. A triumphal arch motif that fills one end of the chapel, with a central niche containing a seated Christ flanked by the two apostles.
Bust of Pope Paul III, ca. 1547; white and yellow marble (Museum of Capodimonte, Naples) One of a number of busts of the Farnese pope.
Tomb of Paul III, bronze and marble, Saint Peter's Basilica, Rome, 1549-75. Della Porta's signal work, the tomb was shifted and modified by Bernini.
Bibliographyedit
Giovanni Baglione, Le Vite de' Pittori, Scultori et Architetti dal Pontificato di Gregorio XIII fino a tutto quello d'Urbano VIII, Roma 1642, 70–71, 143, 169, 211, 307.
Filippo Titi, Descrizione delle Pitture, Sculture e Architetture esposte in Roma, Marco Pagliarini, Roma 1674, rivista da Giovanni Bottari 1763, 15, 19, 111, 265.
S. Varni, Delle opere di Gian Giacomo, di Guglielmo Della Porta e di Nicolò Da Corte Scultori, in Atti della Società Ligure di Storia patria, VII, Genova 1866.
Giorgio Vasari, Vite: Vita di Guglielmo Della Porta, di Michelangelo, di Leone Leoni e di Pierin del Vaga, VII, Milano 1880.
Giuseppe Merzario, I Maestri Comacini. Storia artistica di mille duecento anni (600–1800), I–II, G. Agnelli, Milano 1893.
Ernesto Steinmann, Monumento a Paolo II a S. Pietro, Roma 1912.
Angelo Borzelli, Il capolavoro di Guglielmo Della Porta: la tomba di Paolo III in S. Pietro in Vaticano, Napoli 1920.
Guglielmo Matthiae, Attività romana di Guglielmo Della Porta, in Capitolium, 7, 1935, 313–326.
Ugo Donati, Vagabondaggi. Contributi alla storiografia artistica ticinese, I, Arturo Salvioni & Co. Editori, Bellinzona 1939, 33.
Maria Gibellino Krasceninnicowa, Guglielmo Della Porta. Scultore lombardo, Fratelli Palombi Editori, Roma, 1944, 67, 72.
Alessandro Giobbi, Testimonianze di Storia di Claino con Osteno, Osteno 1971.
Clario Di Fabio, Il "mito delle origini" e il nome di Genova nel Medioevo, in Bollettino Ligustico, XXXI, 1979 (ma 1981), 1/4, 37–44.
AA.VV., Dizionario biografico degli italiani, ad vocem, Istituto dell'Enciclopedia italiana, Roma.
AA.VV., La scultura a Genova e in Liguria, 1, 1987.
Idem, La scultura bronzea a Genova nel Medioevo e il programma decorativo della Cattedrale nel primo Trecento, in Bollettino d’Arte, s. VI, LXXVI, 1989, 55, 1–44.
Elena Parma Armani, Precisazioni sull’attività grafica di Guglielmo della Porta nel periodo genovese e nel primo momento romano, in Le vie del marmo. Aspetti della produzione e della diffusione dei manufatti marmorei tra Quattrocento e Cinquecento, atti del colloquio (Pietrasanta) a cura di R.P. Ciardi e S. Russo, Firenze 1994, 45–52.
Clario Di Fabio, Davide vincitore, in Amici dei Musei, 1995, 62/63, 34–35; Idem, La Cattedrale di Genova nel Medioevo (secoli VI–XIV), Cinisello Balsamo 1998.
Alverio Gualandris, Porlezza. Storia – Arte – Statuti – Artisti – Documenti, Attilio Sampietro Editore, Menaggio 2003, 170–172, 178.
Riccardo Navone, Viaggio nei Caruggi, edicole votive, pietre e portali, Fratelli Frilli Editori, Genova 2007, 473.
Yasmine Helfer, Guglielmo della Porta: dal Duomo di Genova al Duomo di Milano, in «Prospettiva», 132, 2008, 61–77.
Referencesedit
^In the study of Maria Gibellino Krasceninnicowa we learn that the drawings and writings of Guglielmo are collected in two volumes in gold parchment with the words: "Opera di F. G. Della Porta", author of the collection is Giuseppe Ghezzi, a relative of Della Porta. The drawings show his complex personality, showing us the pictorial side of his art, and in them, we feel the breath of classicalRoman sculpture. Ghezzi was in possession of the important code of Leonardo: the manuscript the nature, weight and motion of water then said "Codex Hammer" from the name of the financier who bought it. Of this code, owned by Guglielmo at Leonardo's death, the traces were lost and reappeared when the Ghezzi in 1717 decided to sell it to a rich Englishman, Thomas Coke, 1st Earl of Leicester, whose heirs sold it to financier Armand Hammer for more than five million dollars
Art on-line:Guglielmo della Porta
External linksedit
Media related to Guglielmo della Porta at Wikimedia Commons
January 01, 1970
guglielmo, della, porta, 1500, 1577, italian, architect, sculptor, late, renaissance, mannerist, period, relief, descent, from, cross, castello, sforzesco, born, prominent, north, italian, family, masons, sculptors, architects, father, giovanni, battista, dell. Guglielmo della Porta c 1500 1577 was an Italian architect and sculptor of the late Renaissance or Mannerist period Bas relief of Descent from the Cross now in Castello Sforzesco He was born to a prominent North Italian family of masons sculptors and architects His father Giovanni Battista della Porta was a sculptor He trained in his uncle s workshop in Genoa and moved to Rome in about 1537 where he was very much influenced by Michelangelo Della Porta provided legs for the Farnese Hercules when it was first excavated when the original legs were found some years later Michelangelo recommended that Della Porta s legs be retained showing how modern artists were capable of direct comparison with the Ancients He was appointed to the papal mint in 1547 His prolific output is varied He began his artistic training under the guidance of his uncle Giovanni Giacomo who takes him on his construction site of the Cathedral of Milan and assigned him the task of sculpturing and reinterpreting the works of Leonardo da Vinci 1 until about 1530 Later he moved with his uncle to Genoa where he perfected his design under the guidance of the painter Perin del Vaga in the works for Villa del Principe Palazzo di Andrea Doria Contents 1 Major works 2 Bibliography 3 References 4 External linksMajor works editGenoa Cathedral Chapel of Peter and Paul Main altar 1534 37 A triumphal arch motif that fills one end of the chapel with a central niche containing a seated Christ flanked by the two apostles Tomb of Odoardo Cicada ca 1545 originally a Late Renaissance wall tomb in Michelangelo s style in the Cicada Chapel of the Basilica of Santa Maria del Popolo Rome now fragmented Bust of Pope Paul III ca 1547 white and yellow marble Museum of Capodimonte Naples One of a number of busts of the Farnese pope Tomb of Paul III bronze and marble Saint Peter s Basilica Rome 1549 75 Della Porta s signal work the tomb was shifted and modified by Bernini Bibliography editGiovanni Baglione Le Vite de Pittori Scultori et Architetti dal Pontificato di Gregorio XIII fino a tutto quello d Urbano VIII Roma 1642 70 71 143 169 211 307 Filippo Titi Descrizione delle Pitture Sculture e Architetture esposte in Roma Marco Pagliarini Roma 1674 rivista da Giovanni Bottari 1763 15 19 111 265 S Varni Delle opere di Gian Giacomo di Guglielmo Della Porta e di Nicolo Da Corte Scultori in Atti della Societa Ligure di Storia patria VII Genova 1866 Giorgio Vasari Vite Vita di Guglielmo Della Porta di Michelangelo di Leone Leoni e di Pierin del Vaga VII Milano 1880 Giuseppe Merzario I Maestri Comacini Storia artistica di mille duecento anni 600 1800 I II G Agnelli Milano 1893 Ernesto Steinmann Monumento a Paolo II a S Pietro Roma 1912 Angelo Borzelli Il capolavoro di Guglielmo Della Porta la tomba di Paolo III in S Pietro in Vaticano Napoli 1920 Guglielmo Matthiae Attivita romana di Guglielmo Della Porta in Capitolium 7 1935 313 326 Ugo Donati Vagabondaggi Contributi alla storiografia artistica ticinese I Arturo Salvioni amp Co Editori Bellinzona 1939 33 Maria Gibellino Krasceninnicowa Guglielmo Della Porta Scultore lombardo Fratelli Palombi Editori Roma 1944 67 72 Alessandro Giobbi Testimonianze di Storia di Claino con Osteno Osteno 1971 Clario Di Fabio Il mito delle origini e il nome di Genova nel Medioevo in Bollettino Ligustico XXXI 1979 ma 1981 1 4 37 44 AA VV Dizionario biografico degli italiani ad vocem Istituto dell Enciclopedia italiana Roma AA VV La scultura a Genova e in Liguria 1 1987 Idem La scultura bronzea a Genova nel Medioevo e il programma decorativo della Cattedrale nel primo Trecento in Bollettino d Arte s VI LXXVI 1989 55 1 44 Elena Parma Armani Precisazioni sull attivita grafica di Guglielmo della Porta nel periodo genovese e nel primo momento romano in Le vie del marmo Aspetti della produzione e della diffusione dei manufatti marmorei tra Quattrocento e Cinquecento atti del colloquio Pietrasanta a cura di R P Ciardi e S Russo Firenze 1994 45 52 Clario Di Fabio Davide vincitore in Amici dei Musei 1995 62 63 34 35 Idem La Cattedrale di Genova nel Medioevo secoli VI XIV Cinisello Balsamo 1998 Alverio Gualandris Porlezza Storia Arte Statuti Artisti Documenti Attilio Sampietro Editore Menaggio 2003 170 172 178 Riccardo Navone Viaggio nei Caruggi edicole votive pietre e portali Fratelli Frilli Editori Genova 2007 473 Yasmine Helfer Guglielmo della Porta dal Duomo di Genova al Duomo di Milano in Prospettiva 132 2008 61 77 References edit In the study of Maria Gibellino Krasceninnicowa we learn that the drawings and writings of Guglielmo are collected in two volumes in gold parchment with the words Opera di F G Della Porta author of the collection is Giuseppe Ghezzi a relative of Della Porta The drawings show his complex personality showing us the pictorial side of his art and in them we feel the breath of classical Roman sculpture Ghezzi was in possession of the important code of Leonardo the manuscriptthe nature weight and motion of water then said Codex Hammer from the name of the financier who bought it Of this code owned by Guglielmo at Leonardo s death the traces were lost and reappeared when the Ghezzi in 1717 decided to sell it to a rich Englishman Thomas Coke 1st Earl of Leicester whose heirs sold it to financier Armand Hammer for more than five million dollars Art on line Guglielmo della PortaExternal links edit nbsp Media related to Guglielmo della Porta at Wikimedia Commons Retrieved from https en wikipedia org w index php title Guglielmo della Porta amp oldid 1165556398, wikipedia, wiki, book, books, library,
