Mino da Fiesole

Mino's work was influenced by his master Desiderio da Settignano and by Antonio Rossellino, and is characterized by its sharp, angular treatment of drapery.

The wall monuments exercised Mino's skills: portraits and bas-reliefs are worked into complex tectonic aedicular structures with elaborate highly individualistic decorative moldings.

Art historians have revelled in the extraordinary diversity of contemporary and ancient sources that Mino marshaled in these tombs, which distinguish him from other sculptors active in mid quattrocento Florence (Zuraw 1998).

The pulpit in Prato Cathedral, in which he collaborated with Antonio Rossellino, finished in 1473, is very delicately sculpted with bas-reliefs of great minuteness, but somewhat weakly designed.

Some of Mino's portrait busts and profile bas-reliefs are preserved in the Bargello at Florence; they are full of life and expression, though without the extreme realism of Verrocchio and other sculptors of his time.

Portrait of Mino da Fiesole, metalpoint with white gouache on blue-grey prepared paper cut to an oval, Chatsworth House . Subject identified based on the similarity to the woodcut illustration in the Lives of Vasari, for which it is a probable source. Alfred Scharf's attribution of the drawing to Filippino Lippi has been generally accepted. [ 1 ]
The earliest dated Renaissance portrait bust, 1453, by Mino da Fiesole of Piero de' Medici
Piazza Mino da Fiesole [ it ] in Fiesole