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Early Renaissance in Italy
Page 1
Italians really began to dislike the style that “displaced the grandeur” that was Rome.
Blamed the Goths for Rome’s downfall, named the displacing style “Gothic” - barbaric.
Very crude & simplified version of events, & not entirely accurate.
Humanism was becoming an influential school of thought in Italy. Humanism meant:
- knowledge of classical cultures was increasing
- printing with moveable type led to more books, increasing knowledge in
science, medicine, anatomy, etc.
- individual achievement was valued, talents were developed, & achievements
of individuals increased.
ALL this led to a revolution in art – more portraits, more images of Classical
mythology, more religious AND civic commissions. Wealthy & powerful patrons
were willing to pay for quality artwork.
SLIDE - Brunelleschi & Ghiberti – Sacrifice of Isaac
Panels for Florence Cathedral Baptistery door contest. 1401. 1’ 9” x 1’ 5”.
These are gilded bronze panels
Competition held in 1401 - to design the bronze relief panels for a door
Would go on the North side of the Florence Baptistery.
Contestants - had to create a relief panel of theme - “Sacrifice of Isaac”
Used quatrefoil frames because another door used quatrefoil shaped frames.
LEFT - Brunelleschi’s design is emotional, but “choppy” in sections.
RIGHT – Ghiberti’s - FIRST true classical nude (Isaac) since ancient Rome.
Shows reflection humanism is becoming more influential.
Ghiberti won. Judges preferred the advancements.
*Linear perspective, looks like Roman architecture.
*Scenes & figures “flow” together better.
Plus was cheaper, used less bronze because cast in only 2 pieces.
Brunelleschi ended his sculpting career after this
*was offered the assistant job on this project , but refused, felt insulted.
*turned to architecture instead
SLIDE - Lorenzo Ghiberti, East Doors - Gates of Paradise.
Baptistery of Florence Cathedral. 1425 - 1452. Gilded bronze relief. 17’ high.
North doors were so successful - Gilberti was asked to do a set for the East side too.
Michelangelo later said they were worthy of being the “gates of paradise”.
10 large square reliefs - Old Testament scenes, from Creation to reign of Solomon.
Very painting-like in the depth of space
Unusual for relief sculpture to have this much illusionistic depth.
Early Renaissance in Italy
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SLIDE - Ghiberti, Isaac and his Sons. (East doors - detail)
Several stories at once:
1. Left - Women attend birth of Jacob & Esau (Isaac & Rebecca’s sons)
2. Middle - Isaac sends Esau & dogs out to hunt
3. Right - Isaac gives blessing to Jacob (kneeling figure).
Rebecca (Isaac’s wife) looks on.
Extreme depth of space for relief sculpture - influenced by DONATELLO.
Building & arches in 1-pt. perspective.
Figures cut very HIGH relief, while buildings in background cut in LOW relief.
CLASSICAL influences - Draperies on the group of women on the left side:
Fold & mold to the body - very Greek/Roman-like.
Rounded arches - very Roman.
SLIDE - Filippo Brunelleschi, Dome, Florence Cathedral. 1420-1436.
A look at early Renaissance architecture.
The major civic project of the 15th century was to complete this dome
*Begun over a century before, but didn’t have the engineering skills to finish it
*Couldn’t use wooden supports because the dome was too wide – 140’
*Didn’t want to use buttresses (would interfere with crossing plan).
Filippo Brunelleschi proposed a technical solution for the dome.
Shunned all current thinking on how to build a dome.
Designed a pointed arch, NOT a spherical dome, which is more stable
*Reduces the outward thrust at the dome’s base.
*Used a double shell of ribs to minimize the weight.
Brilliant design – 1st ever double shell.
He even designed the machinery needed to build it.
Only in the last 100 years have architects begun to question Brunelleschi’s methods
Now revolt against Renaissance tradition, as he revolted against Gothic tradition.
SLIDE - Nanni di Banco, 4 Crowned Saints.
Church of Or San Michele. Florence. 1408 - 1414. Life-size.
From a series of sculptures made for several local guilds.
Or San Michele was once the city shrine for the local guilds.
Outside of the building has 12 niches - each guild was assigned a niche
The commissioned sculptures of their patron saint or saints to stand in it.
Nanni di Banco made the statues for 3 of the guilds, including this one.
This made for the sculptors’ guild.
These 4 saints were 3rd century Christian sculptors
Executed for refusing to make an image of a pagan Roman God.
Setting for the sculpture looks like a small Gothic chapel,
BUT the figures are wearing Roman-style togas, hair, & beards.
Very realistic, appear to be talking with each other - unifies the 4 figures.
Relief panels below show the 4 sculptors at work.
These are deeply undercut to enhance the illusion of 3-dimensionality.
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SLIDE - Luca della Robbia, Madonna & Child. Or San Michele, Florence.
1455 - 1460. Ceramic (terra cotta) with glaze. 6” diameter.
Ceramic is very cheap & easy to work
Italian sculptors began to use it frequently for architectural sculpture.
Luca della Robia was a talented sculptor in marble - began to experiment with clay too.
Added tin glazes to make the clay more weatherproof & decorative.
Added colors to the glazes - used blues, greens, pale yellow & lots of white
His work became extremely popular; he made molds to reproduce his most desired pieces
“Art for the masses” - attractive AND inexpensive.
His was a very elegant style - he taught it to his sons & nephew
They continued his style after his death.
SLIDE - Donatello, Feast of Herod. Siena Cathedral. Siena, Italy.
1425. Gilded bronze relief. 13” x 13”.
This is a gilded panel made for Siena Baptismal.
Donatello – an artistic genius, the most influential of the early Renaissance sculptors.
Very long career. Liked to solve technical sculptural problems.
Skilled at depicting various types of people.
Developed a technique for creating the impression of VERY deep space.
Combined new linear perspective
With ancient Roman technique of varying the height of the relief
Figures in front very deeply undercut.
Background just barely incised, not carved – makes it look much further away.
Classical architecture, made with careful linear perspective. 2 arched courtyards recede.
Story of Salome: Her stepfather, King Herod, asked her to dance for him at a banquet,
He promised her anything she asked for in return.
Prompted by her mother, she asked for John the Baptist’s head on a platter.
Her mother, Herodias, was angry at John the Baptist
Because he had criticized her (Herodias’s) marriage,
Distinct vanishing point. Main action is on the Left foreground.
Background – musicians, and can see the head ready for presentation.
Your eye is led past the horrified spectators, to the platter & Herod.
Donatello shows emotions & expressions of the people.
2 frightened children in front Left.
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SLIDE - Donatello, David. 1420 - 1460. Bronze. 5’ 2” tall.
David & Goliath.
Probably commissioned by the Medici family.
*First life-size male nude sculpture since antiquity.
Nudes were considered indecent during the Middle Ages Unless clearly religious AND necessary, like Adam & Eve.
Inscription on base - says made to celebrate Florence’s triumph over Milan in 1428.
Continues the Classical tradition of heroic male nudity –
An adolescent boy - not a perfect muscular man, more sensuous
Jaunty rose-trimmed shepherd’s hat & boots.
Contrapposto pose, looks relaxed.
Rests his foot on Goliath’s head.
SLIDE - Donatello, Gattamelata (Equestrian statue, Erasmo da Narni).
Piazza del Santo, Padua, Italy. 1445 - 1450. Bronze. 11’ x 13’.
Powerful statement of Renaissance respect for military commanders
Commissioned by city officials in Padua.
Made to commemorate the Venetian General Erasmo da Narni Nicknamed “honeyed cat” - a play on his mother’s name, Melania Gattelli.
Probably based on the equestrian statue of Marcus Aurelius,
(Then thought to be of the Christian emperor Constantine)
Donatello probably saw that & other Roman equestrian statues
He went to Rome as a youth.
Completely freestanding - not attached to a wall or column.
Horse has foot on an orb - shows DOMINANCE over the earth.
From a distance - seems imposing, tough and strong. On a very high marble base.
Up close - can see sunken cheeks, sagging jaw, stern yet sad expression.
He is a warrior grown old & tired of the constant need for vigilance.
Manages to look majestic, though not unusually large.
Donatello – Other sculptures
St. John the Evangelist. St. George. Mary Magdalene.
1415 – 1416. Marble. 82” tall.
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SLIDE - Michelozzo di Bartolommeo, Palazzo Medici-Riccardi.
Florence, Italy. 1445.
Named Medici after commissioning family, Riccardi after later owners.
The Medicis – wealthy, powerful merchant family in Florence.
Were run out of Florence by other influential families, for 4 years.
When they came back, didn’t want to draw attention.
Needed a “simpler” looking home.
Brunelleschi created designs for the palace, but rejected as “too grand.”
Michelozzo was chosen to create new designs.
This design established a tradition for Italian townhouses.
The plain-looking exterior was influenced by the Christian ideals of poverty and charity.
Florence had sumptuary laws (like many European cities)
They forbade ostentatious displays of wealth (were often ignored)
In Florence, private homes were limited to a dozen rooms.
Cosimo de’ Medici (the elder Medici) ignored this.
It is HUGE (each story is 20’ high)
He actually bought and demolished 20 small houses to build this one.
Big on the inside, but simple-looking on the outside.
It was not just the Medici house, but symbolized the Medici family
Each story is set off by a different kind of stone:
Large, rough stones on the lower floor, to nearly smooth as you go up.
Looks lighter on top floor.
Heavy cornice on top.
Constructed around a central interior courtyard & covered gallery.
Arched colonnade.
SLIDE - Leon Battista Alberti, West Façade, Church of Sant’ Andrea.
Mantua, Italy. 1470.
Alberti’s façade design combines - classical temple front & a triumphal arch.
Pilasters (Corinthian tops) define the porch face.
The pilasters flanking the arch are 2 stories tall,
The others are raised to 3 stories - support the entablature & pediment.
Repeated arch / pilaster motif alternates.
The arch is a shallow barrel vault.
SLIDE - Leon Battista Alberti, Nave of Sant’ Andrea.
The alternating motif (pilaster / arch) continues on the inside as well.
Immense barrel-vaulted nave with tall chapels off to each side,
Nave was inspired by the Basilica of Constantine (Basilica Nova)
No side aisles. The colonnades in between would block the view of service.
Early Renaissance in Italy
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SLIDE - Antonio Pollaiuolo. Hercules & Antaeus. 1475. Bronze. 1’ 6”.
Was a painter & engraver. Often did commissions by the Medici family.
Small piece - only 18” tall.
Meant to be held and turned, viewed from all angles.
Shows Greek myth of a wrestling match between Hercules & Antaeus.
Hercules realized that every time he threw Antaeus down on the ground,
He jumped back even stronger – was gaining strength from contact with earth.
Hercules had to hold him off the ground & hold tight around his waist to defeat him.
Explosive energy, kicking & struggling. Figures look strained.
SLIDE - Antonio Pollaiuolo, Battle of 10 Nudes.
1465. Engraving. 15” x 23”.
Pollaiuolo was a sculptor/goldsmith from Florence.
Illustrates the interests of the Early Renaissance:
*Study of Classical sculpture,
*Anatomical research that leads to greater realism
*Male nude form.
10 naked men fighting each other - violent action, muscles and bone structure evident.
Anatomically incorrect. Look really stiff because ALL muscle groups are clenched.
Leonardo discovered later that when 1 muscle group contracts, another relaxes.
Bodies have little fat – look almost as if they have no skin.
Lots of different poses & views of the bodies.