Monday, January 25, 1999

Announcements:

• the handout with the information usually provided on the overheads will be available on Wednesday
• there will be an optional Andy Warhol lecture and trip

• During the Early Italian Renaissance
• artists/architects developed new solutions to architectural/engineering problems
• they were not limited to working within the guilds
• there was a sense of excitement
• architects drew not only on native culture (ancient), but also developed innovative solutions
• a flexible new style
• Early Italian Renaissance Sculpture: three major sculptors
• Lorenzo Ghiberti
• Nanni di Banco
• Donatello (will be the focus of our attention)
• Brunelleschi, Masaccio, and Donatello were most influential of the Early Italian Renaissance
• Donatello was commissioned to create sculptures for the Or San Michele (OSM) in Florence
• OSM was shrine to saints
• also practical: a grain exchange
• very little separation between sacred and secular
• niches in architecture along the ground floor exterior allowed for placement of sculpture
• very large structure (as are the niches)
• theme of sculpture were influenced by military crisis of the time

• located in one of the niches
• glorifies four ancient sculptors who converted to Christianity under Diocletian
• refused to sculpt pagan god--killed
• displays an example of the social impact of art
• this loyalty to belief is similar to individualism of Florence
• recalls ancient Roman and Greek sculpture
• develop
• self-identity
• Florentine civic pride (same spirit as sculptors)
• powerful bodies under their robes
• realism
• way the robes drape
• naturalism
• inspires virtues based on ancient precedent
• trying to put human face on courage
• referred to ancient Roman sculpture for inspiration
• COMPARE:  "Bearded Man", Roman, 2nd Century

• commission given to Donatello by armor and swordmakers' guild
• St. George is their patron saint
• originally held a sword that extended beyond the niche
• resulted in a dramatic effect
• three-dimensional; solid; not a relief figure
• sharp lines
• all lines lead back to the interior of the image
• stability
• nothing to challenge the integrity of the form
• contained composition
• textures
• knotted fabric
• leather armor
• stiffness of shield
• figure is at rest, but not static
• filled with vitality
• Donatello captures
• Early Italian Renaissance integrity and courage
• the viewer can feel the degree of anxiety (humanism/naturalism)
• COMPARE: "St. Peter" Pilaster at South Entrance to Moissac Cathedral, early 12th Century
• figure is distorted into architecture
• drapery
• not naturalistic

• Donatello becomes more liberated later in his career

• tries to represent hero to Florentine citizens
• David is a civic symbol of Florence
• psychological moment chosen
• immediately after death of Goliath
• follows victory
• technical triumph
• one of the fist large-scale bronze to be created in Europe since antiquity
• triumph for humanism
• in the nude: innovative
• anatomy
• sharpness of shoulder
• curves
• Goliath wearing contemporary military helmet
• meant to symbolize Florence's military involvement at the time
• an open society allowed him to create such a sensuous figure (nude)
• not an idealized figure
• COMPARE: "Hermes with Infant Dionysus", Praxcitiles, 350 B.C.E
• same contrapposto
• weight shift to one leg
• s-shaped stance
• David's Hat
• 14th and 15th Century worn by Italian shepherds
• like portrayals of god Mercury in antiquity
• breadth of hat balances Goliath's head at bottom of figure

• mere size of the figure is an impressive feat
• dominates the square where displayed
• careful anatomical study of horse
• horse does not cause Gattamelata to get lost--balanced composition
• curves (muscles of horse), lines (staff) lead to center of figure
• lines cause the viewer's eye to move
• detail of the face
• not a brutal warrior
• questioning, intellect
• COMPARE: "Marcus Aurelius", Rome, bronze equestrian statue, 175 C.E.
• less naturalistic