Florentine (Early) Florentine (Early) RenaissanceRenaissanceQuattrocento ItalyQuattrocento Italy

Causes of the Renaissance• Greater individual wealth (merchant and artisan class)• Lower population (due to previous plague years) lead to little competition for resources• Printing press and printmaking techniques lead to greater availability of education and spread of ideas. Removed power from clergy. Re-exposure to literature and philosophy of ancient Greece.• Increased international trade lead to growth of cities, and increase in the number of very wealthy individuals• Wider variety of art patrons lead to wider variety of art subjects.

Gutenberg and his press

Humanism• Renaissance-era Humanism:1. Discover the beauties of life in the here and now (not the hereafter)2. Reaffirmation of man “nothing more wonderful than man”3. Invention of the printing press spreads ideas from the people, to the people4. Investigation of ancient texts and writers from Classical Greece and Rome (i.e. Plato, Aristotle, Ovid, etc)5. Promoted a revival of interest in the affairs of the everyday world, such as science, engineering, mathematics, and medicine6. Reassertion of the faith of men and women in themselves7. Reinforce the role of individuals in all spheres8. Emphasis on individual improvement and excellence rewarded with fame and honor.9. Emphasis on civic duty

Vitruvian ManLeonardo da Vinci

Power in Quattrocento Italy• In the 1400s, Italy was still divided into politically volatile city-states, with shifting power relations among them.• Some regions were republics, while others (such as Milan and Naples) were ruled by individuals.• The city-states of this time that were ruled by an individual are referred to generically as princely courts, for though they were ruled by rulers with various titles (such as duke, marquis, count, cardinal, pope, or condottiere [mercenary warlord]), all them had the imperial powers of a monarch.• These “princes” often appointed a court painter. At the time, most artists were still considered middle-class craftsmen. Being appointed the court painter was a significant elevation of social status (in addition to providing a steady income). • Princes selected their court painters carefully, as the quality of work done by their painter reflected upon their own reputation.• In addition to portraits, sculptures, and frescoes, court painters were in charge of the tapestries, costumes, masks, and decorations for the frequent lavish social functions of court life.

Italy c. 1400

The Medicis• By the time of his death in 1429, the Florentine banker Giovanni di Bicci de Medici had established a vast family fortune. • His son, Cosimo de Medici, was a great patron of the arts and of learning in the broadest sense (in one example, he spent the equivalent of $20 million on the first library since ancient times). • Florence was supposedly a republic, but in fact it was ruled indirectly by Cosimo. Although he did not hold public office, he used his wealth to control politics through bribery and threats.• Cosimo’s son, Piero, was in perpetually ill health, and only ruled for five years after his father before his own death.• Piero’s son Lorenzo was was a member of the Platonic Academy of Philosophy, and gathered about him a variety of artists and gifted men in all fields. He spent lavishly on buildings, paintings, and sculptures. • Although Lorenzo continued to rule Florence in the same style as his grandfather Cosimo, Lorenzo was not as gifted at banking as his forefathers, and the family business shrank dramatically under his tenure.

Cosimo “the Elder” de Medici

Piero “the Gouty” di Cosimo de Medici

Lorenzo “the Magnificent” de Medici

Teachings of the Neo-Platonic Academy1. The eternal absolutes of truth, goodness, and beauty existed only in the divine mind.2. Such absolutes are not wholly within human grasp.3. Mortals, by learning, observation, and creativity, could catch occasional glimpses of the absolutes4. TRUTH could be obtained by pursuing scientific knowledge5. GOODNESS could be obtained through performing and observing good deeds and through the experience of love, first physical then spiritual6. BEAUTY could be obtained through nature and experiencing great works of art

Plato and Aristotle

East Doors of the Baptistery of San Giovanni (Florence Cathedral)

• In 1401, the Cathedral of Santa Maria del Fiore (Florence Cathedral) held a competition to design the new East doors of the baptistery (the south doors were done by Andrea Pisano in 1330). • The artwork would be commissioned by the wool merchants guild.• Each prospective artist had to submit a relief panel depicting Abraham’s near sacrifice of his son Isaac in a similar French Gothic quatrefoil frame.• This scene is a metaphor for God’s sacrifice of his son, Christ.• It also represents covenants (binding agreements between God and humans). Baptism (in the baptistery) initiated a person into these covenants.• It may also represent the sacrifice of the civic duty to protect the city to ensure freedom, as Florence was at the time under siege by Visconti, the duke of Milan.

North (originally East) Doors of the Baptistery of San Giovanni. Lorenzo Ghiberti

Baptistery of San Giovanni, Florence, ItalyGilded bronze. 1401-1402.

Ghiberti vs. Brunelleschi Sacrifice of IsaacFilippo Brunelleschi

Sacrifice of IsaacLorenzo Ghiberti

Sacrifice of Isaac• Ghiberti’s panel won out for a number of reasons:1.It was cast in only two pieces of bronze, whereas Brunelleschi’s was cast in several pieces. This meant lighter doors, less materials expense, and better durability against the elements of weather. 2.Brunelleschi’s depiction emphasizes movement and passion, whereas Ghiberti’s depiction is more contemplative and graceful.3.Ghiberti’s composition has a greater sense of depth4.Ghiberti’s depiction of Isaac recalls the nudes of Classical Greece (as does his acanthus leaf decoration of the altar Isaac kneels on).

Brunelleschi

Ghiberti

Gates of Paradise• In 1425, Ghiberti’s patrons moved his original doors to the north entrance, and commissioned him to make a new set of completely gilded doors for the east entrance.• The artist Michelangelo later described these new doors as being “so beautiful that they would do well for the gates of Paradise,” and the nickname Gates of Paradise stuck.• Ghiberti’s rival, Brunelleschi, had recently developed the system of linear perspective, which Ghiberti adopted in these panels.• Ghiberti abandoned the quatrefoil frame of the previous doors, and made ten larger panels, instead of 28 smaller ones.• The panels depict episodes from the Old Testament.• In addition to linear perspective, Ghiberti used depth of relief to create a sense of depth (closer objects are in higher relief, whereas further items are in shallower relief).

East Doors of the Baptistery of San GiovanniLorenzo GhibertiBaptistery of San Giovanni, Florence, ItalyGilded bronze. 1425.

Isaac & His Sons• This is one of the panels from Ghiberti’s Gates of Paradise.• Instead of the panel serving as an architectural space, Ghiberti depicted architecture in the background.• The elegant architectural elements in the background lend a sense of dignity and importance.• Synoptic narrative – the same characters appear several times within the same frame to depict the story.-Left: Women attend the birth of Esau and Jacob-Center: Isaac sends Esau and his dogs to hunt game-Right: Isaac blesses the kneeling Jacob as Rebecca looks on• Sense of realistic space enhanced by showing some figures from behind.

Isaac & His SonsLorenzo Ghiberti

East doors of the Baptistery of San Giovanni, Florence, Italy

Gilded bronze. 1425.

Or San Michele• The Or San Michele was an early 14th century building that connected the Palazzo della Signoria (seat of the Signoria, Florence’s governing body) and the cathedral.• At various times, Or San Michele housed a church, a granary, and the headquarters of Florence’s guilds.• City officials had assigned niches on the building’s four sides to specific guilds, instructing each guild to place a statue of its patron saint in its niche.• After nearly a century, only five of the fourteen niches were filled, so city officials issued a mandate requiring the guilds to comply.• The niches house sculptures by some of the leading artists of the 1400s, including Ghiberti and Donatello.

Or San MicheleFlorence, Italy

Four Crowned Saints• Commissioned by the Florentine guild of stone- and wood-cutters.• The sculpture depicted the four patron saints of the guild, who were sculptors that refused to sculpt a Roman god for the Roman emperor Diocletian (ruled 284-305), and were subsequently put to death.• At the time, Florence was under siege by King Ladislaus of Naples. These saints were the perfect role models for 15th century Florentines whom city leaders exhorted to stand fast in the face of Ladislaus’ armies.• The recessed niches of Or San Michele allowed di Banco to face the figures towards each other, making it seem as though they are interacting and sharing the same unified space (as opposed to previous jamb figures, which all faced the same direction). • As the man on the right speaks, the two men on the left listen closely, and the third man looks into space, pondering the meaning of the man on the right’s words, creating a psychological unity.• The emotional intensity of the two inner figures is based on third century Roman emperor portrait busts.• The bearded heads of the outer saints reveal a familiarity with second-century imperial portraiture.

Four Crowned SaintsNanni di Banco

Or San Michele, Florence, Italyc. 1410

Saint Mark• One such niche sculpture is the depiction of Saint Mark by the sculptor Donatello (full name Donato di Noccolo Bardi)• Commissioned by the guild for linen makers and tailors.• Donatello utilized the classical contrapposto pose• The folds of St. Mark’s robes seem to flow with the movement of his body, giving the sense that the figure is a nude human wearing clothing, not a stone statue with arbitrarily incised drapery. • The robe does not conceal but rather accentuates the movement of the arms, legs, shoulders, and hips. • The focus on the flowing drapery is appropriate given the guild for whom the work was commissioned.• The life-like statue almost seems ready to move out of the niche.

Saint MarkDonatello.

Or San Michele, Florence, Italy.

c. 1411. Marble, 7’ 9”.

St. George• This statue was commissioned by the guild for armorers and sword-makers.• It originally had a bronze helmet, and held a bronze sword (both fashioned by guild members).• The figure appears tense, ready to defend Florence against invading armies.• Below the statue, Donatello installed a relief depicting St. George fighting a dragon. The background details are lightly incised lines, creating an sense of depth similar to atmospheric perspective.

Saint GeorgeDonatello

Or San Michele,Florence,

Italyc. 1410

Mary Magdalene• Also known as Penitent Mary Magdalene• Depicts an aged and withered Mary Magdalene, clad in nothing but a garment of her own hair.• Was probably originally commissioned by an housed in the Baptistery of San Giovanni, Florence.• Was remarkable for its physiological realism and heightened emotionalism.

Mary MagdaleneDonatello

Woodc. 1455

Donatello’s David• Commissioned by the Medici family for display in their courtyard.• Donatello revived the free-standing nude sculpture, which had been considered indecent and/or idolatrous during the middle ages.• Instead of a Greek god, Donatello depicted David, the young biblical hero who slayed the giant Goliath.• David was seen as a symbol for Florence, which had survived several sieges by outside forces.• The Medici either identified with Florence, or saw themselves as responsible for its prosperity, and that is why they commissioned a statue of David.• The incorporation of the classical contrapposto pose and proportions would have appealed to the Medici, as humanists.

DavidDonatelloc. 1440Bronze5’ 2”

Verrocchio’s David• Verrocchio was a prominent sculptor as well as painter.• His version of David (also commissioned by the Medici family) is less classically idealized than Donatello’s.• Verrocchio’s David is a sturdy, wiry young apprentice clad in a leather doublet who stands with jaunty pride over the head of Goliath.• The easy balance of the weight and the lithe, still thinly adolescent musculature, with prominent veins, show how closely Verrocchio read the biblical text, and how clearly he knew the psychology of brash young men.• The Medici family later sold Verrocchio’s David to the Florentine government for placement in the Palazzo della Signoria.

DavidAndrea del Verrocchioc. 1465Bronze4’ 1”

Hercules & Antaeus• What story is being depicted here? In what medium have we seen this story before?• Also commissioned by the Medici family.• Small in size.• The Greek subject matter and emphasis on anatomy indicate the Medici interest in humanist art.• Hercules is also related to the city of Florence because he had been included on the city’s seal since the 1300s. Again, the Medici family sought to associate themselves with the glory and success of their city.• Unlike the two David statues, this statue depicts the human form in violent motion.

Hercules &AntaeusAntonio del Pollaiuoloc. 1470Bronze1’ 6”

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GattamelataDonatello. 12’ 2”.

Piazza del Santo, Padua, Italy. Bronze. C. 1445.

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Equestrian Statue of Bartolommeo ColleoniAndrea del VerrocchioCampo dei Santi Giovanni e Paolo,Venice, Italy.c. 1480. Bronze. 13’ high.

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