HUMANITIES: ITALIAN RENAISSANCE - SCULPTURE
HUM2230 – Lec1_Ital_Renais_sculpture - power point notes
(2) Renaissance Sculpture: Early
& High Renaissance sculptors
(3) Lorenzo Ghiberti
competition promoting notion of individual genius. In 1401 Seven sculptors were asked to submit depictions of the sacrifice of Isaac for the projected north doors of Florence Cathedral’s octagonal baptistery. [picture of this separate structure?] The material was to be bronze, and individual panels were to be enclosed in the quatrefoil, or four-lobed, pattern (8, 241)
Lorenzo Ghiberti (1378-1455) won competition – his reaction typifies heightened sense of self-worth [arrogance?] “. . . To me the honor was conceded universally and with no exception. To all it seemed that I had at that time surpassed the others.”
(8, 241) Brunelleschi (who did the Dome for Cathedral later) was one of the contestants. Both men in early twenties, both skilled and in Goldsmiths’ Guild. See figures for differences:
Class discussion: What is the story about?
in Genesis, from Old Testament of the Bible, God
asks Abraham to sacrifice his beloved son, Isaac, (it was a test of his faith)
on
What are the differences between these two sculptures? (artist’s
interpretation and style)
Brunelleschi’s composition – Gothic verticality; three rising planes vs. Ghiberti’s composition almost horizontal – two scenes divided diagonally by a mountain.
B’s is crowded, figures spill out over their frame; G’s uncluttered – all figures and details converge toward a center of interest in upper right – formed by heads of principal figures.
B- accents dramatic tension – Abraham seizing the screaming Isaac by neck – angel staying his hand at last moment; G – shows poise and decorative elegance.
B – Isaac’s body shaped with Gothic
angularity; G- models it with smooth lines and grace of a Hellenistic stature
(he modeled it on a torso discovered near
B-cast the relief in separate sections, mounting these onto bronze background plate; G-greater technical skill, cast his in a single mold.
The decision giving the commission
to Ghiberti indicated new aesthetic standards for Renaissance art.
Brunelleschi, along with friend Donatello, traveled to
Unlike medieval art, in which the size of figures was determined by their importance, here size reflects position in space: foreground figures are larger and in higher relief, becoming progressively larger as they emerge from the depths of the composition. The angel flies forward – example of sculptural foreshortening.
(4) Ghiberti: North Doors – New
Testament
[this left out of new text – I have pics] Subject of door panels changed to series of New Testament stories – 28 gilded bronze reliefs – took the majority of Ghibert’s time and took over 20 years to complete (1425–1452; he was trained as a painter);
he pursued concerns of spatial illusion and visual harmony. Unlike medieval art, in which the size of figures was determined by their importance, here size reflects position in space:
(5) Ghiberti: Gates of
What is the name of this panel? The Creation of Adam and Eve p. 12
Then commissioned to make second
set for baptistery – ten stories from the Old Testament. Michelangelo called
them the “Gates of
(from 8, 242:) [Gates of
foreground figures are larger and in higher relief, becoming progressively larger as they emerge from the depths of the composition. The angel flies forward – example of sculptural foreshortening.
(6) Gates of
On either side of the pictorial panels, Ghiberti included a series of full-length figurines that alternate with heads that recall Roman portrait busts. Hebrew prophets on the outer sides are set opposite pagan sibyls, all of whom were supposed to have foretold the coming of Christ.
Top right: self-portrait (?)
(7) Donatello: Feast of Herod
Discussion: What is the story?
From
the New Testament, Bible: On Herod Antipas’ birthday, his wife’s daughter
(traditionally named Salome) danced before the king and his guests. Her dancing
pleased Herod so much that in his drunkenness he promised to give her anything
she desired, up to half of his kingdom. When the daughter asked her mother what
she should request, she was told to ask for the head of John the Baptist on a
platter. Although Herod was appalled by the request, he reluctantly agreed and
had John executed in the prison.
What is significant about this
sculpture? (p.12)
This panel represents is the moment when King Herod is brought the head of John the Baptist.
You can see the shock and horror as he pulls back in dismay. To the right can be seen Salome who requested the head as payment for dancing.
In Donatello's panel she smiles and looks about to break into dance once more in celebration.
Donatello (1386-1466) – same interest in correct perspective, proper proportions, accurate representation of nature. Feast of Herod [fig 13.9] – great creation of perspective space.
Linear Perspective allows the picture to function as a window through which a specific scene is presented to the viewer.
Feast of Herod creates illusion of a deep space with two courtyards behind the foreground action.
This dramatic action is a first in Italian sculpture; also composition is split down the middle providing two competing centers of attention – added emotional impact and tension.
Where is the panel located? This is one of four panels depicting the life of John the Baptist, for the Baptismal Font for the Sienna Baptistry. (ca. 1423-27) click to next slide . . .
(8) Donatello & Ghiberti:
comparison: Baptismal Font
the font with reliefs illustrating the life of John the Baptist
Top right – Donatello’s Feast of Herod
Bottom right – Ghiberti’s Arrest of John the Baptist. Angel on right is Donatello's Hope, a figural statuette.
(9) Donatello: Bearded Prophet & Prophet
With Scroll
1418 - the first sculptures executed by Donatello for the Campanile (free standing bell tower) of the Florence Cathedral. – now housed in a museum. They are the Bearded Prophet, the Prophet with Scroll, and Abraham and Isaac (not shown).
(10) Donatello: Prophets Jeremiah & Habakkuk
In the 1420s Donatello's search for a naturalistic rendering was intensified, and unrealistic elements have been discarded. This process reached its highest point in the Prophet Jeremiah and the Prophet Habakkuk. Jeremiah – 1423-26
The figure of Habakkuk (marble - 6’5”) – also called simply The Prophet, and also nick-named Lo Zuccone (pumpkin head or baldpate), . . . he was commissioned to do for the Florence Cathedral; meant to be displayed about 55 feet above ground in the Florence Cathedral; sculpted with that angle of vision (and lighting) in mind.
Donatello sought to produce a powerfully expressive rather than a handsome figure – boniness of huge frame, powerful musculature of the arms, convulsive gesture of right wrist, tension of muscles of neck, intensity of the face. Donatello created a unique figure of strong individuality – not a traditional iconographical type. The nickname given shows that it was accepted as such.
The statue is seen [in the middle]
on the Campanile, but now it is in the Museo dell'Opera del Duomo,
(11) Donatello’s David (1425-30)
Who was David? Why is David a
popular subject in art?
The
Philistine army had gathered for war against
Donatello’s David . . . Stone in sling & Goliath’s head depicts story before and after. The simple tunic is missing.– nude David (except for hat and boots) links him to heroic nudes of antiquity (first large-scale nude since Roman antiquity).
David has antique contrapposto posture.
(12) Details – Donatello’s David
(13) Donatello: Mary Magdalene
Why is this an unusual interpretation, or presentation, of Mary Magdalene?
[fig 13.11] – (1453-55, wood, painted and gilded, over six feet high)
Repentant prostitute usually depicted anointing Jesus’ feet, attending to his burial, guarding his tomb, discovering his resurrection.
This is after years of living in the desert, rejecting the life of the body; anticipating immortal life.
Striking absence of beauty makes her powerful and memorable.
She originally stood in the Florence Babtistry as a reminder to the participants in the baptismal ceremony of the original sin that is washed away and of the universal presence of death among the living.
(14) Michelangelo (1475-1564) – lived in Palazzo Medici, served as art school; studied sculpture under Giovanni Bertoldo (student of Donatello).
Palace bursting with Neoplatonic and humanist ideas. Skilled in many areas –
in his mind he was a sculptor- believing the figure is imprisoned within the block of marble in the same way the soul is trapped within the body – a profoundly neoplatonic idea. His sculpture revealed and liberated the human ideal. Michelangelo – found beauty in the imagination.
David – [fig. 13.27] (1501-1504 – 18’) over 13 feet tall, intended to stand 40 feet above ground on a buttress on Florence Cathedral.
What is David the universal
symbol of?
1501-1504, from “the giant” Michelangelo creates him who overcame the giant – an individual facing their ‘giant’ battles.
City officials deemed it a
“masterpiece” too good to be placed so high – placed in the square where
political meetings took place, symbolizing freedom of speech and that the
Contrapposto position, sculptor’s skill demonstrated in tightly muscled form, tendons and veins; sense of enormous pent-up energy; absence of attire-heroic nudes of antiquity, and cannot link him to specific time period – has universal meaning: battle between good and evil—everyone must meet their foe.
(15) Michelangelo’s David – details: Notice eyes (pupils?) cut out for added effect of intensity
(16) Compare: Michelangelo’s and
Donatello’s - David
Same nudity, same calm classical
repose, same contrapposto
• Both are shown thinking, but Michelangelo’s David is shown thinking about what he’s going to do while Donatello’s is reveling in what he has done.
•
Which has the
more naturalistic musculature?
(17) Michelangelo: Pieta
• In art history a scene of the pietá (from the Latin pietas, and referring to family devotion) typically depicts the Virgin Mary with the dead body of the recently crucified Christ. Michelangelo finished three or more pieta scenes, but this is his most famous.
Pietà – [fig 13.26] (1498-99 marble 5’9” high) (pity, depicting Mary mourning over dead Jesus in her lap).
To heighten feelings of pity and sorrow, figure of Mary is monumental compared to figure of Jesus; she is depicted as young woman – to imply she thinks back to when Jesus was an infant in her lap.
(From 8, 269): Christ is cast in the perfect form of a Greek god;
Madonna—overwhelmed by grief—maintains a classical composure; no tears, no outcry, no gesture mar this conception of Mary as the matronly mother of sorrows.
To heighten expressive effect and enhance the harmony of his design (pyramid) – excessive drapery; Christ’s body disproportionately small.
Distinction – only work Michelangelo ever signed. (banner crossing Mary’s chest)
(18) Michelangelo – Pieta ca. 1456 - Into Mannerism period
What is so different about this sculpture – from what we have been
viewing?
(19) Michelangelo: Tomb of
Julius II
The tomb was originally commissioned in 1505 yet was not completed until 1545 in a much reduced scale. Originally intended for St. Peter's Basilica, "Moses" and the tomb were instead placed in a minor church after the pope's death. This church was patronised by the family from which Julius came, and he had been cardinal there.
The tomb of Julius II was a colossal structure that would have given Michelangelo the room he needed for his superhuman, tragic beings. This project became one of the great disappointments of Michelangelo's life when the pope, for unexplained reasons, interrupted the commission, possibly because funds had to be diverted for the rebuilding of St. Peter's.[5]
The original project called for a
freestanding, three-level structure with some 40 statues. After the pope's
death in 1513, the scale of the project was reduced step-by-step until, in
April 1532 [6], a final contract with the heirs of Pope Julius II specified a
simple wall tomb with fewer than one-third of the originally planned figures.
[7]
The tomb of Julius II, with Michelangelo's statues of Rachel and Leah on the left and the right of his Moses. The sculptures of Rachel and Leah, allegories of the contemplative and the active life, were executed by a pupil of Michelangelo.
Tombs of popes, like their triple tiaras, traditionally in three rising zones, symbolizing earthly existence, death, and salvation.
For the original project, Michelangelo translated these divisions into Neoplatonic terms representing the successive stages of the liberation of the soul from its bodily prison:
lower section – was to have figures of those crushed by the burden of life and those who rise above the bonds of matter;
second level was to have heroic
figures of the leaders of humanity—those who pointed the way toward the divine
goal of reunion with God. Moses and
(20) Michelangelo: Moses: Tomb
of Julius II
Only the Moses was finished by Michelangelo himself (the only statue on the finished tomb completed entirely by Michelangelo’s hand.)
The Moses (c. 1513–1515) (marble over 7 ½ feet tall) is a masterpiece of High Renaissance sculpture.
Both Julius II and Michelangelo possessed the quality of terribilità, or “awesomeness,” that is embodied in this figure. Julius was known as il papa terribile, meaning the “forceful” or “powerful pole,” imbued with the fear of the Lord.
Michelangelo conceived his Moses as the personification of a powerful will, and partially as an idealized portrait of the determined Julius who as the formulator of a code of Church laws, had something in common with the ancient Hebrew law-giver (arm resting on tablets).
Moses is further portrayed as the personification of the elemental forces. He is the human volcano about to erupt with righteous wrath, the calm before a storm of moral indignation, the dead center of a hurricane of emotional fury, the messenger of those thunderous “Thou Shalt Nots,” of the Ten Commandments . . . The smoldering agitation revealed through the drapery, the powerful musculature of the arms, the dominating intelligence of the face, the fiery mood, and the twisting of the body in the act of rising are characteristic of Michelangelo’s style. . . .
the carved irises of the eyes, found earlier in his David, Michelangelo did to express a look of fixed determination. When he wanted to convey the qualities of dreaminess, gentleness, and resignation, as in his Madonnas, he left the eyes untouched.
The curious horns on Moses’ head
were an iconographical tradition from the medieval days. They stem from a
mistranslation in
(21) Michelangelo: Dying &
Rebellious Slaves
The Dying Slave and the Rebellious Slave are sculptures that were to be on the tomb. Marble (7;6”)
Dying Slave: The left wrist is strapped to the back of the neck, and there is a band around the chest. A monkey, only partially carved, grasps the left shin, representing art as mere "aping" (mimesis) or suggesting earthly passions.
Rebellious Slave, is engaged in a far more active struggle than its counterpart.The extraordinarily powerful torso, straining its hulking mass of bone and flesh against bands that tie it back, seems more animal than human. Using sweeping, brushlike strokes made by a three-toothed chisel, Michelangelo created a Rebellious Slave that is lacking the definition of his earlier sculptures and seems instead to express in its coarse surface the very essence of agonized humanity.
The contrast between them skillfully shows human resistance to the chains of bondage and the temptation to submit to the inevitable.
Michelangelo started work on several additional slaves for the tomb of Pope Julius II.
(22) Michelangelo: Four more
slaves – all left unfinished
Crossed-leg Slave by
Michelangelo
These pieces and their struggle to
free themselves from the prison of the enormous marble blocks inspired Rodin in
his work nearly four hundred years later.
Michelangelo's Blockhead Slave (9 feet 1-1/2 inches tall) stands in
the Galleria dell'Accademia in Florence.
(23) Statue of Michelangelo
One of 28 statues of famous
individuals of
(26) Properzia de’ Rossi: Josehp
and Potiphar’s Wife
What’s the story here?
This is Properzia de’ Rossi’s most famous work where she shows a scene of Joseph leaving Potiphrr’s wife, which is why this is called “Joseph and Potiphar’s Wife” made around 1520 – marble bas-relief. 19” ¼ x 18” 1/8
The story tells of Potiphar’s wife being angry because she failed to seduce Joseph.
Powerful figures – action enhanced by garments.
(27) Hercules clubs an Amazon by Properzia
The story? From Greek mythology. Eurystheus ordered Hercules to bring him the belt of Hippolyte. She was queen of the Amazons, a tribe of women warriors. Their name comes from a Greek word meaning “missing one breast.” This is because an Amazon’s right breast got in the way when she threw a spear. They lived apart from men and only kept the female children and reared them to be warriors like themselves.
What was Properzia famous for?
(28) Properzia’s fame
She was known for doing miniature carvings that was done one cherry pits or peach stones. She sometimes integrated these miniature art pieces into the jewelry she made.
This is one of the pieces she made, which contains carved peach and plum stones or pits. This is made of silver filigree and is a family crest for the Grassi Family. The family commissioned this crest.
[right] This is a coin portrait
done of Properzia de’Rossi, but of unknown artists. It is a bronze coin and it
shows the importance of this woman artist among
(29) Properzia - portrait
Last image of Properzia de’ Rossi, where she looks very pious in nature.
She lived to be only 40 years old from 1490- 1530.
The art she produced was in a male-dominant industry and she was able to flourish in it and claim recognition for her mastery.
(30) Review – names of sculptors
from Early and High Renaissance
-end-