Week 3 - Making Renaissance Art - Chapter 3 - The illusion of life in fifteenth-century sculpture

Introduction

This introduction by Kim Woods states this chapter has a duel focus 'to provide a basic grasp of the very wide range of materials and techniques essential for an understanding of the making of Renaissance sculpture' and 'to explore the ideal of faithfulness to nature'.

1. The Florence Baptistry doors

A review of the two competition pieces submitted by Ghiberti and Brunelleschi giving an insight into bronze casting techniques.

2. The Goldene Rossl

Standing 62cm high this is an outstanding work by an unknown Northern European goldsmith and is presented as evidence of the quality of work produced in the North by goldsmiths that may have had an influence on Ghiberti and his 'lyrical verisimilitude'. The Goldene Rossl Pl.3.5 p.108 was a gift to Charles VI of France by his wife in 1405. It is a jewel encrusted and enamelled gold and silver portrayal of the Virgin and Child, receiving Charles VI and his knight on an upper level, whilst below waits a horse and groom. Exquisite!

3. Champmol

Champnol is near Dijon and is the site of the tomb of Philip the Bold 1384-1410. The tomb is a further example of naturalistic opulence and stonework in alabaster and black marble, and was the first ever created in this style with the three dimensional architectural arcade extending around all four sides, amongst which are the life like figures of mourners. Champmol was also the site of a gigantic 10 metre high stone cemetry cross Well of Moses surrounded and supported by the figures of six prophets and six mourning angels. Again their decoration reflecting the high status of the patron and carved with great naturalism.

4. Orsanmichele

This multi-purpose building was decorated on the outside with statues by the Florence Guilds. The chapter looks at two works Nano di Banco's Four Crowned Saints Pl.3.8,p.114 and Donatello's Saint George Pl.3.9,p.115 both in marble. Mention is made of how the Florence statues reflect a far more classical style in their naturalistic approach as opposed to the Northern European style of the previous chapter.

5. Relief sculpture in Florence

This section compares the work of Donatello working in marble and sandstone, Pl.3.10 p.116 Christ Giving the Keys to Saint Peter, Pl.3.11,p.118 Cavalcanti Annunciation and Pl.2.5 p.68 St. George and the Dragon and the different techniques used to create naturalistic figures and depth. Comparison is made of the Cantoria's in Florence cathedral produced by Luca della Robbia Pl.3.12,p.119 and Donatello Pl.3.13,p.119 and the different finishes achieved on the marble which create illusionistic effects. Finally Ghiberti's Baptistry doors cast in fire-guilded bronze Pl.3.14,p.120, and the manner in which figures are made in different reliefs alongside architecture to create a sense of depth.

6. Materials and techniques in the Netherlands

Altarpieces are the consideration of this narrative! and several examples are considered from the various centres of production in Brussels and Antwerp. The point is made that during the 1400's the wooden carvings changed to become more three dimensional and lifelike. Pl.3.16, p.123 Master of Hakendover Crucifixion and Pl.3.17,p.124. Unknown Brussel's carver, de Villa altarpiece. Special consideration is given to an altarpiece carved by Adriaen van Wesel, Angel Musicians now mostly destroyed but a fragment is shown in Pl.3.18,p.125.

Also discussed are the types of wood stipulated to be used by the controlling guilds in Antwerp and Brussels and the way in which the guilds inspected final work to give a seal of approval. Carved pieces were polychromed (painted) to add to the effect of naturalism by adding colour, and in some instances, appliquéd wax to represent fabric was added prior to painting.

7. Materials and techniques in Italy

This compares the Italian work against those in the north, there was not such a tradition of wood carving as in the north but Donatello worked in wood on occasions producing works such as Mary Magdelene Pl.3.20,p.127 and John the Baptist displayed in Venice. Sienese sculptors made more use of wood as marble was not so readily available see pl.3.19,p.126 Jacopa della Quercia The Annunciation. (Renaissance Siena Art for a City exhibition at NG Neroccio di Bartolomeo de' Landi (1447-1500) Saint Catherine of Siena, polychromed wood, p.102 of catalogue, an exquisite example).

Donatello also worked in glazed terracotta but another famous artist working in this medium was Lucca della Robbia Pl.3.21 p.128 The Resurrection. Polychrome terracotta however was used by Niccolo dell'Arca as in Pl.3.22 p.128 Lamentation over the Dead Christ. There were limitations with the glazed terracotta in producing natural figures but the polychromed terracotta seemed to use the paintwork to a greater effect in achieving naturalism.

8. Sculpture produced in multiple versions

Multiple versions of artworks particularly madonnas were produced in a number of ways. Terracota images could be produced in moulds and then gilded and then polychromed such as Pl.13.23, p.129 by Lucca della Robbia Bliss Madonna (Virgin and Child in a Niche). Ghiberti also produced moulds for devotional pieces suitable for homes or the outside of homes. Bronze also made effective moulds and Donatello also seems to have produced multiple works from bronze moulds.

9. Tombs and Portraits

An investigation of how sculptors started to create portrait style reproductions of real people. A number of tomb figures are considered in which the actual face continues to be somewhat idealized but the items such as armour, clothes etc. have been copied from real items associated with the figure. The earliest recognized sculpture portrait appears to be of Piero de Medici Pl.3.31, p.137 Mino de Fiesole, portrait bust of Piero de Medici, Lord of Florence, produced in 1453.

Conculsion

The chapter has considered how 15thC sculptors strove to create the illusion of life through various mediums. That illusion however, was often not a copy of the real but an idealised fantasy.