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Niccolò di Piero Lamberti (ca. 1370 – 1451), also known as Niccolò di Pietro Lamberti, Niccolo Aretino, Niccolò d'Arezzo and as il Pela, was an Italian sculptor and architect. Little is known about his life other than that he was married in Florence in 1392. His son, Piero di Niccolò Lamberti (1393–1435), was also a sculptor, and the two are notable for exporting the Tuscan style of sculpture to Venice, where they were active in the late 1410s and 1420s.
By 1391 he was working on the Porta della Mandorla of the Duomo in Florence. In 1401 he was one of the artists who participated in the contest that was held to design the North doors of the Baptistery, won by Lorenzo Ghiberti. In 1408 he was chosen as one of three sculptors to create one of the seated Evangelists (St. Mark) at the Florence Cathedral. The statue of St. Mark for the Florence Cathedral was completed in 1415 and is now housed at the Museo dell'Opera del Duomo in Florence.[1] He was later active in both Venice and Bologna. In Venice, his significant role in the sculpture of the upper storey of St. Mark’s façade is notable.[1] In addition to his statue of St. Luke at Orsanmichele, he created St. James the Major, on the southern façade for the tabernacle of The Guild of Furriers and Skinners. Lamberti is also responsible for two series of capitals at Orsanmichele, one on the right side of the arcade of the eastern façade and one on the left side of the arcade of the southern façade.[2]
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\【翡冷翠美術經典｜堅持傳統，信奉材料：尼科洛．蘭貝提】
晚期哥德式風格的雕像拉長身形、大量蜿蜒的皺褶，利用一邊的下肢微微離開身體中心表現運動感，或是利用凸出的膝蓋表示姿勢，微傾的身驅產生搖擺的律動。由於大型石材的開採稀少而珍貴，尤其是蘭貝提專門以卡拉拉礦場極佳品質的大理石為材料，因此等身雕像為了維護石材的完整，雕刻的技法往往必須以裝飾為目的而不追求大膽的表現。從蘭貝提為聖米凱爾會堂製作的兩件雕像〈聖路加〉和〈聖雅各〉，我們便可以看到晚期哥德式雕像的傳統特色。（撰文．攝影／劉碧旭）（節選自《藝術家》559期，2021年12月號）
#尼科洛_蘭貝提 #Nicolò_Lamberti……
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