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Anne Markham Schulz, the Sculpture of Bernardo Rossellino and His Workshop

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Anne Markham Schulz, the Sculpture of Bernardo Rossellino and His Workshop Document generated on 10/01/2021 1:41 a.m. RACAR : Revue d'art canadienne Canadian Art Review --> See the erratum for this article Anne Markham Schulz, The Sculpture of Bernardo Rossellino and his Workshop. Princeton, Princeton University Press, 1977. 176 + xxiii pp., 225 illus., $35.00 Debra Pincus Volume 5, Number 1, 1978 URI: https://id.erudit.org/iderudit/1077333ar DOI: https://doi.org/10.7202/1077333ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this review Pincus, D. (1978). Review of [Anne Markham Schulz, The Sculpture of Bernardo Rossellino and his Workshop. Princeton, Princeton University Press, 1977. 176 + xxiii pp., 225 illus., $35.00]. RACAR : Revue d'art canadienne / Canadian Art Review, 5(1), 76–79. https://doi.org/10.7202/1077333ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1978 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ sion on the one hand, and that of sont représentés à côté des artistes quête d’un paradis toujours loin­ Alexander the Great on the other. de l’Europe du Nord depuis le tain? Chacun pourra comparer les These illustrations, Restle informs début du XIVe siècle jusqu’au xvie images offertes par ce répertoire us, seem to be in accordance with a siècle avancé. Le catalogue de Wil­ avec l’art amoureux des Indes ou text which has corne down to us liam R. Levin est particulièrement du Japon pour s’en convaincre un only in a Latin and an old French riche: il fait chaque fois le point sur I)eU' ROLAND SAhHFAÇON version (1264) and which was la provenance et le style des Université Laval œuvres, sur les thèmes représentés utilized by Dante in his Divine Com- Québec edy. et leurs sources historiques ou artis­ There is a good bibliography and tiques. Le texte est toujours dense an appendix which includes a well- et très pertinent. Il renvoie à une conceived glossary of technical copieuse bibliographie dressée à la terms abundantly illustrated with fin. drawings. These give spécial value Deux textes, auparavant, intro­ to the book. Dispersed throughout duisent globalement les thèmes de the text are beautiful lithographs l’Amour et de la Mort dans l’art and engravings taken from early (Clifton C. Olds) et dans la littéra­ ANNE MARKHAM SCHULZ The nineteenth-century publications of ture (Ralph G. Williams). Le texte Sculpture of Bernardo Rossellino and western travellers to the East. They sur la littérature est particulière­ his Workshop. Princeton, Princeton recall B y ron’ s Childe Harold and Don ment intéressant. L’auteur nous fait University Press, 1977. 176 + xxiii Juan, Lamartine’s Voyage en Orient, faire un parcours rapide, mais très pp., 225 illus., $35.00. and the later writings of Loti. Read­ clair depuis Hésiode et Platon ing the book and pondering on the jusqu’à Dante, Boccace et le néopla­ Bernardo Rossellino has not yet had engravings, we become aware that tonisme de la Renaissance en pas­ the kind of critical monograph that there is always room for mystery in sant par Rome et par l’amour cour­ has been accorded most of his the old sites of the East. The author tois médiéval. Fort habilement, l’au­ contemporary Florentine artists. deserves our admiration and the teur apporte d’assez longues cita­ Active as both architect and publishers.our praise for producing tions de divers auteurs pour ap­ sculptor, and in both spheres over- a book unique among its kind. It puyer les diverses conceptions de shadowed by more attractive and will, one hopes, be widely trans- l’Amour et de la Mort et pour nous more charismatic personalities — lated. faire entrer d’emblée dans l’am­ Alberti in the field of architecture, GEORGE GALAVARIS biance même du Moyen Âge et au Donatello and Ghiberti in sculpture McGill University cœur des théories nombreuses — it has been difficult to sort out the Montreal qu’ont élaborées les spécialistes sur exact nature of his contribution to tous ces sujets. the early Renaissance. The most Le texte de Clifton C. Olds est comprehensive work on Bernardo plus court et quelque peu décevant. to date — a work that gives equal Il était d’ailleurs difficile de faire le considération to both his architec­ bilan d’œuvres très variées et même ture and his sculpture — is Maryla disparates de style (ivoire du début Tyszkiewicz’s Bernardo Rossellino du xive siècle, gravure de Dürer, (Florence, 1928), written in Polish dessins italiens), déjà étudiés ail­ and published in an édition of Images of Love and Death in Late leurs dans leur contexte respectif et about one hundred copies. (An Médiéval and Renaissance Art. The rassemblées ici pour leur seule English translation of Tyszkiewicz’s University of Michigan Muséum of Art. affinité iconographique. C’est text, prepared under the direction 21 Nov. 1975—24 Jan. 1976 Essay s vraiment l’inconvénient de ce genre of Schulz, is to be found in the by Clifton C. Olds and Ralph G. d’exposition de déboucher sur des Kunsthistorisches Institut, Flor­ Williams; Catalogue by William R. considérations globales de portée ence.) It is a rather reverential Levin. Ann Arbor, University of éventuellement plus historique que study, elegantly produced on laid Michigan, 1976. 132 pp., 68 illus. proprement artistique. Dans cette paper with tipped-in photographs, veine, l’auteur aurait pu évoquer extremely useful for its compen­ Voici un catalogue d’exposition davantage certains aspects de la vie dium of documents but not a work admirablement exécuté et présenté, au Moyen Âge autres que la peste that places Bernardo in a well- sur quelques-uns des thèmes fon­ noire de 1348, présenter quelques- defined critical niche. More recent damentaux de la fin du Moyen Age unes des œuvres si nombreuses scholarship tends to divide Ber­ et de la Renaissance, ceux qui tour­ conservées dans divers monuments nardo into his architectural and nent autour de F Amour et de la d’Europe comme la sculpture funé­ sculptural personae: e.g., Léo Mort. L’illustration est abondante raire, les fresques, etc. Mais dans Planiscig’s Bernardo und Antonio Ros­ et elle met en valeur des œuvres l’ordre des idées générales, l’auteur sellino (Vienna, 1942), which con­ nombreuses conservées dans plu­ va certainement à l’essentiel lors­ centrâtes on the sculpture of both sieurs musées américains. On passe qu’il affirme que les regards et Bernardo and his extremely gifted des manuscrits, aux premières gra­ gestes des amoureux des xve et xvie younger brother; and now Schulz’s vures, aux dessins et peintures, aux siècles expriment la promesse de monograph, a rigorous attempt to tapisseries et tissus, aux ivoires, aux félicités à venir plutôt que l’empor­ see Bernardo’s sculptural produc­ objets de métal, aux bijoux et cof­ tement de la passion. L’homme tion with clarity and historical frets. Plusieurs maîtres italiens y occidental aurait-il toujours été en perspective. 76 RACAR / V / 1 The book is organized around into the early 1460s, though with ous standard of quality. The nine extant works which Schulz has Bernardo no longer the dominat- sculptural surfaces in the selected isolated as the sculptural commis­ ing artistic personality. In an in- commissions are subjected to a mi­ sions in which Bernardo was in- teresting introductory chapter, nute examination, resuking in a volved to a sufficient degree to be Schulz argues that Bernardo’s sud- cataloguing of fold types, a rigidly able to term them products of the den success as a sculptor has a great formai analysis of physiognomy, Bernardo Rossellino workshop. deal to do with a shift in taste in and a précisé noting of certain Documents link Bernardo to seven Florence away from the monumen­ peculiarities of working method of these commissions. Another tal figure and towards a more (such as the exact way in which an commission, the tomb of Giovanni utilitarian class of sculpture that artist chooses to make his surface Chellini in the church of S. one can term church furniture, a emphases or define contours by use Domenico at S. Miniato al Tedesco shift initiated and encouraged by of the drill). The methodology has just outside Florence, has been as- the économie straits of the 1430s. a great deal to do with a technical sociated with Bernardo in the liter- What Bernardo had to offer was aid that has transformed the con- ature, and the connection is main- a product in which the architectural noisseurship of art history in the tained here on the basis of ‘formai element was a major aspect of the twentieth century — the widespread resemblances.’ From the standpoint piece. Portais and tabernacles were use of photographs. The part-by- of the development of fifteenth- very much his line of work, and the part analysis of works presented century sculpture, the most impor­ shop established a corner on the here relates naturally to the use of tant work treated in the book is the sculptural market in the area of the detail photograph which breaks tomb of Leonardo Bruni, the chan- tomb production. The 1440s and the momument up into conven- cellor of Florence, in S.
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