Code art.: 14559
Price: 350,00 €
Stock availability: 1

Between 1450 and 1455 he worked, with a frieze of cherubs, in the Pazzi chapel in Santa Croce and, together with Antonio Rossellino, under the direction of Bernardo Rossellino, on the tomb of the Blessed Villana, in the Basilica of Santa Maria Novella. In 1453 he enrolled in the Art of the Masters of stone and timber. Between 1453 and about 1458 he executed the tomb of the chancellor Carlo Marsuppini in the church of Santa Croce in Florence; the monument derives from the tomb of Leonardo Bruni by Bernardo Rossellino, the setting is the same: the deceased, lying above the sarcophagus, is framed in a triumphal arch supported by pilasters, where in the lunette is the tondo the Madonna and Child. Unlike Rossellino, Desiderio introduces curvilinear rhythms in order to break the rigid pattern: the sarcophagus has rounded corners, the coat-of-arms putti are moved to the end of the pilasters so as to make an animated base, the festoon held up by genes falls on the sides of the triumphal arch, increasing the perceived space instead of closing it all within the triumphal arch. Even with the almost contemporary Antonio Rossellino, there will be no lack of reciprocal references. From around 1455 is the portrait bust of Marietta Strozzi, preserved in Berlin and the Magdalene in polychrome wood, for the church of Santa Trinita in Florence, where, thanks to the soft and careful treatment of the surfaces, the old age of the Magdalene has suffered but it does not reach the deformation present in Donatello's contemporary Maddalena. The Tabernacle for the chapel of the Sacrament in the church of San Lorenzo dates back to 1461. He died in Florence in 1464. Among his followers, the best known is perhaps Francesco di Simone Ferrucci.