DOCSLIB.ORG

Lorenzo Ghiberti's Gates of Paradise

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information Lorenzo Ghiberti’s Gates of Paradise This book examines the heretofore unsuspected complexity of Lorenzo Ghiberti’s sculpted representations of Old Testament narratives in his Gates of Paradise (1425–52), the second set of bronze doors he made for the Florence Baptistery and a master- piece of Italian Renaissance sculpture. One of the most intellectually engaged and well-read artists of his age, Ghiberti found inspiration in ancient and medieval texts, many of which he and his contacts in Florence’s humanist community shared, read, and discussed. He was fascinated by the science of vision, by the functioning of nature, and, above all, by the origins and history of art. These unusually well-defi ned intellectual interests, refl ected in his famous Commentaries , shaped his approach in the Gates . Through the selection, imaginative interpretation, and arrangement of biblical episodes, Ghiberti fashioned multitextured narratives that explore the human con- dition and express his ideas on a range of social, political, artistic, and philosophical issues. Amy R. Bloch is Associate Professor of Art History at the University at Albany, State University of New York. Her research focuses on Italian Renaissance sculp- ture, and she has published articles and essays on Ghiberti, Donatello, Michelangelo, and on the art and ritual of baptism in Florence. Her work has been supported by fellowships and grants from the Villa I Tatti (the Harvard University Center for Italian Renaissance Studies), the Renaissance Society of America, and the College Art Association. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information Lorenzo Ghiberti’s Gates of Paradise Humanism, History, and Artistic Philosophy in the Italian Renaissance AMY R. BLOCH © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information 32 Avenue of the Americas, New York, NY 10013-2473, USA Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107099166 © Amy R. Bloch 2016 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2016 Printed in the United States of America by Sheridan Books, Inc. A catalog record for this publication is available from the British Library. Library of Congress Cataloging in Publication Data Bloch, Amy R., 1975– Lorenzo Ghiberti’s Gates of Paradise : humanism, history, and artistic philosophy in the Italian Renaissance / Amy R. Bloch. pages cm Includes bibliographical references and index. ISBN 978-1-107-09916-6 (hardback) 1. Ghiberti, Lorenzo, 1378–1455. Gates of paradise. 2. Ghiberti, Lorenzo, 1378–1455 – Criticism and interpretation. 3. Bible. Old Testament – Illustrations. I. Title. NB 623. G 45 A 65 2015 730.92–dc23 2015020632 ISBN 978-1-107-09916-6 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URL s for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association, by the Lila Wallace-Reader’s Digest Publications Subsidy at Villa I Tatti, and by an RSA-Kress Publication Grant from the Renaissance Society of America. Illustrations in this book were funded in part or in whole by a grant from the Meiss/Mellon Author’s Book Award of the College Art Association. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information To Evelyn Klein and the memory of Walter and Roslyn Bloch and the memory of Irwin © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information Contents List of Plates page viii List of Figures ix Acknowledgments xxi Introduction 1 1 The Adam and Eve Panel: The Birth of Creativity 14 2 The Cain and Abel Panel: Fashioning Thought and Fate 49 3 The Noah Panel: Architecture and Politics Emerge 72 4 The Abraham and Isaac Panel: The Sacrifi ce from the Competition to the Gates of Paradise 96 5 The Jacob and Esau Panel: Perspective, Vision, and Memory 131 6 The Joseph Panel: Speech Acts in the Piazza 158 7 The Moses Panel: Sculpting the Drama of Nature 189 8 The Joshua Panel: The Fate of Art 210 9 The David Panel: Ghiberti, Tragedian 233 10 The Solomon and Queen of Sheba Panel: A Portrait of Ghiberti’s Florence 253 Notes 279 Works Cited 327 Index 349 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information Plates Color Plates follow page xxii I . Baptistery of San Giovanni (view of east X . Lorenzo Ghiberti, Joshua panel from the side and copy of Gates of Paradise ), Florence Gates of Paradise , Museo dell’Opera di II . Lorenzo Ghiberti, Gates of Paradise , Museo Santa Maria del Fiore, Florence dell’Opera di Santa Maria del Fiore, Florence XI . Lorenzo Ghiberti, David panel from the III . Lorenzo Ghiberti, Adam and Eve panel Gates of Paradise , Museo dell’Opera di from the Gates of Paradise , Museo Santa Maria del Fiore, Florence dell’Opera di Santa Maria del Fiore, Florence XII . Lorenzo Ghiberti, Solomon and the Queen IV . Lorenzo Ghiberti, Cain and Abel panel of Sheba panel from the Gates of Paradise , from the Gates of Paradise , Museo Museo dell’Opera di Santa Maria del dell’Opera di Santa Maria del Fiore, Florence Fiore, Florence V . Lorenzo Ghiberti, Noah panel from the XIII . Lorenzo Ghiberti, detail of Adam and Eve Gates of Paradise , Museo dell’Opera di panel (creation of Eve) from the Gates of Santa Maria del Fiore, Florence Paradise , Museo dell’Opera di Santa Maria VI . Lorenzo Ghiberti, Abraham and Isaac del Fiore, Florence panel from the Gates of Paradise , Museo XIV . Lorenzo Ghiberti, detail of Noah panel dell’Opera di Santa Maria del Fiore, Florence (Noah and his family leaving the ark) VII . Lorenzo Ghiberti, Jacob and Esau panel from the Gates of Paradise , Museo from the Gates of Paradise , Museo dell’Opera di Santa Maria del Fiore, Florence dell’Opera di Santa Maria del Fiore, Florence XV . Lorenzo Ghiberti, detail of Moses panel VIII . Lorenzo Ghiberti, Joseph panel from the (angels in the sky) from the Gates of Gates of Paradise , Museo dell’Opera di Paradise , Museo dell’Opera di Santa Maria Santa Maria del Fiore, Florence del Fiore, Florence IX . Lorenzo Ghiberti, Moses panel from the XVI . Lorenzo Ghiberti, detail of Joshua Gates of Paradise , Museo dell’Opera di panel (fi gures on the right side of the Santa Maria del Fiore, Florence foreground) from the Gates of Paradise , Museo dell’Opera di Santa Maria del Fiore, Florence viii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-09916-6 - Lorenzo Ghiberti’s Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance Amy R. Bloch Frontmatter More information Figures 9. Lorenzo Ghiberti, back of Adam and Eve INTRODUCTION panel from the Gates of Paradise , Museo 1. Lorenzo Ghiberti, north doors of the dell’Opera di Santa Maria del Fiore, Baptistery of San Giovanni, Florence page 3 Florence 21 2. Lorenzo Ghiberti, Self-Portrait from the 10. Lorenzo Ghiberti, detail of Adam and Eve Gates of Paradise , Museo dell’Opera di panel (God and angels in the sky) from Santa Maria del Fiore, Florence 10 the Gates of Paradise , Museo dell’Opera di 3. Lorenzo Ghiberti, Portrait of Vittorio Santa Maria del Fiore, Florence 22 Ghiberti from the Gates of Paradise , Museo 11. Salerno di Coppo and Corso di Buono (?), dell’Opera di Santa Maria del Fiore, Creation of Adam and Eve , Baptistery of San Florence 11 Giovanni, Florence 23 12. Lorenzo Maitani, Creation of Adam and CHAPTER 1 Eve , façade of the Cathedral of Santa Maria Assunta, Orvieto 23 4. Filarete, Self-Portrait with Assistants , reverse 13. Andrea Pisano, Creation of Adam , Museo of left door of main portal, St. Peter’s, dell’Opera di Santa Maria del Fiore, Rome 15 Florence 24 5.
Recommended publications
  • Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*

    Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*

    ! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig.
  • Lesson 09: Michelangelo- from High Renaissance to Mannerism

    Lesson 09: Michelangelo- from High Renaissance to Mannerism

    East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
  • Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52

    Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52

    Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52 Florence Baptistery, constructed between 1059 and 1128 -renowned for its three sets of bronze doors with relief sculptures (south doors created by Andrea Pisano; north and east doors by Lorenzo Ghiberti) Figure from the 1804 edition of De Pictura (1435) of Leon Battista Alberti, showing the vanishing point Alberti’s treatise was the first surviving European treatise on painting. Book I is a geometry of perspective. Book II describes the good painting. Book III discusses the education and life-style of the artist “Masaccio in painting “Masaccio was a very expressed the likeness of good imitator of everything in nature so well nature, with great and that with our eyes we seemed comprehensive to see not the images of rilievo, a good things but things componitore and puro, themselves.” without ornato, because he devoted himself only to the Alamanno Rinuccini, 1472 imitation of truth and to the rilievo of his figures.” Cristoforo Landino, 1481 Masaccio, The Holy Trinity, 1427. Santa Maria Novella Church, Florence Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Frescoes by Masaccio and Masolino (c. 1423–28) and Filippino Lippi (c. 1482–84) Masaccio. Tribute Money, fresco in the Brancacci Chapel, c. 1427. (2.3x 6 m) “And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening.” Vasari, Lives of Artists Raphael, Madonna of the Meadows, 1505–6, The Annunciation to the Shepherds, Cotton Kunsthistorisches Museum, Vienna MS Caligula A VII/1, fol.
  • Competitive Spirit, Architecture, and Brunelleschi's Individual

    Competitive Spirit, Architecture, and Brunelleschi's Individual

    Armstrong Undergraduate Journal of History Volume 8 Issue 1 Article 2 4-2018 A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence Landen Kleisinger University of Regina Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/aujh Part of the History Commons Recommended Citation Kleisinger, Landen (2018) "A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence," Armstrong Undergraduate Journal of History: Vol. 8 : Iss. 1 , Article 2. DOI: 10.20429/aujh.2018.080102 Available at: https://digitalcommons.georgiasouthern.edu/aujh/vol8/iss1/2 This article is brought to you for free and open access by the Journals at Digital Commons@Georgia Southern. It has been accepted for inclusion in Armstrong Undergraduate Journal of History by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Kleisinger: A City of Feuds A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence Landen Kleisinger University of Regina (Saskatchewan, Canada) Daedalus, the unparalleled inventor and master craftsman of Greek mythology, fashioned wax wings for his son Icarus by which they attempted to escape Crete. Flying too close to the sun, Icarus’ wings soon melted, causing him to plummet into the sea. If “Icarus has come to symbolize hubris, in his failure to respect the limits of human flight imposed by nature, Daedalus’ ability to construct tools to transcend nature’s limits effectively symbolizes the triumph of technology over nature.”1 This transcendence of human nature came to be Filippo Brunelleschi’s (1377-1446) mythic achievement.
  • “Summonses to Awareness:” a Meditation Upon Wisdom and Artful Inquiry

    “Summonses to Awareness:” a Meditation Upon Wisdom and Artful Inquiry

    “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry By Giovanni Antonio Rossini A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto © Copyright by Giovanni Antonio Rossini (2018) “Summonses to Awareness:” A Meditation upon Wisdom and Artful Inquiry Giovanni Antonio Rossini Doctor of Philosophy Department of Curriculum, Teaching and Learning Ontario Institute for Studies in Education University of Toronto 2018 Abstract In his writings Thomas Merton ponders the relation of contemplative experience and the arts within a meditation upon the spiritual life; one whose seminal character is “a life of wisdom” (Merton, 1972, p.141). With Merton as a guide post, my inquiry explores whether the kinship of wisdom and spirituality with the aesthetical, which is offered in his writings, can be extended to reinforce a relation of wisdom and artful inquiry. While the inquiry into the relation of the art and wisdom is informed by the discourse of wisdom studies (Curnow, 2015; Baltas, 2004; Walsh, 2015) it also departs from it by pondering wisdom not in relation to the text, but to the artful. Such different alignment in turn underscored by the question: While we speak of texts that are wise can we, in kindred spirit, speak of art that is wise? The exploring of such question departs from rational and empirical methodologies and instead is nested within a contemplative approach (Hart, 2004; Miller, 2006; Palmer, 1993; Zajonc, 2006); one which immerses inquiry within the life of the researcher and embraces strategies for research which are seeded by an aesthetical presence.
  • Scuplture and the Third Dimension

    Scuplture and the Third Dimension

    SCUPLTURE AND THE THIRD DIMENSION METHODS AND MATERIALS OF SCULPTURE • MODELING----ADDITIVE- add materials • ASSEMBLING----ADDITIVE • CARVING—SUBRACTS—until desired form remains • CASTING—mold—liquid—poured – remains harden MODELING • MOST COMMON MATERIAL TO US IS CLAY • TERRACOTTA: FIRED CLAY • MOST ANCIENT OF ANY ART FORM Figurine of a Voluptuous Lady late Classic period, 700-900 C.E. Ceramic • Modeled of clay • By hand • Survived as part of a group of objects buried in a tomb • Modeling is the most direct of sculpture methods • Use to test ideas • Clay is kept water and can be used over and over again CASTING—INDIRECT METHOD • SOMETIMES THE ARTIST NEVER TOUCHS THE FINAL PIECE • METAL AND BRONZE USED FOR CASTING • NO FEAR OF BREAKING OFF • ACHIEVE SMOOTH ROUNDED SHAPES—GLOWERY-REFLECTIVE SURFACE INDIRECT & INVESTMENT CASTING • ALLOWS FOR MULTIPLES TO BE MADE • MOLD MAKES WAX CASTING REUSABLE • EACH CASTING IS AN ORIGINAL WORK OF ART “Vaquero” by Luis Jimenez. Modeled 1980, Cast 1990 • Uses contemporary materials for contemporary art • Paints his sculptures using acrylic urethane enamels • Industrial “wet look” paint • Cast in sections/assembled around a steel armature • Front of the Smithsonian American Art Museum in Washington D.C. CARVING • MORE AGGRESSIVE THAN MODELING • MORE DIRECT THAN CASTING • WOOD AND STONE PRINCIPAL MATERIALS • BEGIN WITH A SOLID BLOCK OF MATERIAL BOWL WITH FIGURES 20TH CENTURY-WOOD-25” • Song about sculptor/praises him for carving the hardest wood as though it were as soft as melon • Lid carved from single
  • ARTH206-Giorgio Vasari-Lives of the Most Emminent

    ARTH206-Giorgio Vasari-Lives of the Most Emminent

    Selections from Lives of the Most Eminent Painters Sculptors & Architects Giorgio Vasari, Translated by Gaston Du C. De Vere (1912-14) Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 1 of 199 LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS 1912 BY GIORGIO VASARI: NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED ILLUSTRATIONS: IN TEN VOLUMES LONDON: MACMILLAN AND CO. LD. & THE MEDICI SOCIETY, LD. 1912-14 CONTENTS Volume 1 3 Dedications to the Cosimo Medici 4 The Author’s Preface to the Whole Work 7 Giovanni Cimabue 19 Niccola and Giovanni of Pisa 31 Giotto 50 Ambrogio Lorenzetti 78 Volume 2 83 Duccio 84 Paolo Ucello 90 Lorenzo Ghiberti 100 Masolino Da Panicale 121 Masaccio 126 Filippo Brunelleschi 136 Donato [Donatello] 178 Volume 1 Footnotes 198 Volume 2 Footnotes 199 Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 2 of 199 VOLUME I Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 3 of 199 DEDICATIONS TO COSIMO DE' MEDICI TO THE MOST ILLUSTRIOUS AND MOST EXCELLENT SIGNOR COSIMO DE' MEDICI, DUKE OF FLORENCE AND SIENA MY MOST HONOURED LORD, Behold, seventeen years since I first presented to your most Illustrious Excellency the Lives, sketched so to speak, of the most famous painters, sculptors and architects, they come before you again, not indeed wholly finished, but so much changed from what they were and in such wise adorned and enriched with innumerable works, whereof up to that time I had been able to gain no further knowledge, that from my endeavour and in so far as in me lies nothing more can be looked for in them.
  • THE CRITICAL PROCESS Thinking Some More About the Chapter Questions

    THE CRITICAL PROCESS Thinking Some More About the Chapter Questions

    THE CRITICAL PROCESS Thinking Some More about the Chapter Questions CHAPTER 1 Andy Warhol’s Race Riot, 1963 the god’s chest and stomach muscles, which have been sculpted with Warhol seems most interested in the second traditional role of the great attention to detail, and in the extraordinary horizontality of the artist: to give visible or tangible form to ideas, philosophies, or feelings. outstretched left arm. Lyon presents herself to the viewer in the same He is clearly disturbed by the events in Birmingham. By depicting the terms. Rather than a passive object of display, Lyon is an active ath- attack on Martin Luther King, Jr., in the traditional red, white, and lete. By presenting herself in this way, Lyon asserts the power of the blue colors of the American flag, he suggests that these events are not female and implicitly argues that the female body has been “condi- just a local issue but also a national one. Thus, to a certain degree, he tioned” not so much by physical limitations as by culture. also reveals a hidden truth about the events: All Americans are impli- cated in Bull Connor’s actions. Perhaps he also wants us to see the world CHAPTER 5 Jeffrey Shaw’s The Legible City, 1989–91 in a new way, to imagine a world without racism. The second red panel The idea that reality might in some way be “virtual” suggests that its underscores the violence and anger of the scene. As horrifying as the space is somehow both “real” and not. That is, this space is mechani- events are, it is possible to imagine a viewer offended not by the police cal and electrical, other than human, and “apparent” but not tangible, actions but by Warhol’s depiction of them, his willingness to treat such as if in another dimension.
  • Donatello Biography Study Guide

    Donatello Biography Study Guide

    © HomeschoolMasteryAcademy.com 1 Biography Donato di Niccolò di Betto Bardi Born: C. 1386 — Florence, Italy Nationality: Italian Spouse: Unmarried Occupation: Artist, Sculptor Death: December 13, 1466 — Florence, Italy Early Life Donato di Niccolò di Betto Bardi better known as Donatello, was the son of Niccolò di Betto Bardi, a member of the Florentine Wool Combers Guild. He grew up and spent the majority of his life in Florence, Italy. He was given an education in the home of the powerful Martellis family of Florence, who had a strong banking background and were patrons of the arts. This family, the Martellis’ were closely tied to the famous and powerful Medici family. Later in life, Donatello would serve as a commissioned artisan for the Medici family and become close friends with Cosimo the Patron of the family. He was buried in the grave next to Cosimo in the family cemetery. About the Artist He is considered to be one of the greatest sculptors of the renaissance era, and his works served as the foundation for most sculptors who came after him. While Michelangelo became perhaps the most well- known sculptor, it was Donatello who is considered to be the father of the renaissance style of sculpting. Having begun his career as a goldsmith’s apprentice he soon became a student of Lorenzo Ghiberti, a bronze sculptor, whose most famous work is the Bronze Doors, The Gates of Paradise. Donatello preferred the classical method of sculpting honing back to the ancient times. He used this to develop a complete Renaissance sculpting style. His most notable works are his complete statues, known as in the round, which means the statue was developed on all sides of the material forming a complete statue.
  • Patrons, Artists, and Scholars Reader Core Knowledge Language Arts® Knowledge Core

    Patrons, Artists, and Scholars Reader Core Knowledge Language Arts® Knowledge Core

    Unit 4 The Renaissance Patrons, Artists, and Scholars Reader Core Knowledge Language Arts® Knowledge Core GRADE 5 GRADE Unit 4 The Renaissance Patrons, Artists, and Scholars Reader GRADE 5 Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by- nc-sa/3.0/ ISBN: 978-1-942010-15-9 Copyright © 2014 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts is a trademark of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names.
  • Lorenzo Ghiberti (Medieval/Renaissance) B: Ca

    Lorenzo Ghiberti (Medieval/Renaissance) B: Ca

    Lorenzo Ghiberti (Medieval/Renaissance) B: ca. 1378-1381, Pelago, Tuscany, Italy D: 1 December, 1455; Florence, Tuscany, Italy Ghiberti was trained as a goldsmith by his stepfather, who was the main father figure in his life. In 1401, the city fathers of Florence decided to offer a contest to make a pair of doors for the Florence Cathedral to match the pair made seventy-four years earlier by Giotto’s friend, Andrea Pisano (ca 1290-1348) Seven artists entered the competition to make the baptistry doors, two of whom had profound impact on Ghiberti’s life and the art world: Filippo Brunelleschi, who became Ghiberti’s main rival, and Donatello the sculptor, who would work for both men from time to time. During the year Ghiberti made his panel, he would often hail judges, fellow guild members, even complete strangers down in the streets, and ask them to come and give their opinion of his entry piece. He re-made it several times based on their recommendations. Others, like Brunelleschi, worked in secret and revealed their panels only at the competition. Ghiberti wrote the first artist autobiography: in it, he claimed he won the Florence competition for the door unanimously. Other sources declare it was a tie between himself and Brunelleschi—the first time of many when this would happen. Both of their entries still exist, and people and scholars still debate whose is better! The doors were supposed to take ten years to complete (three years longer than Pisano’s.). They took twenty, and were hung in 1424. Ghiberti was promptly given the commission for another set of doors.
  • Ghiberti Insert I

    Ghiberti Insert I

    GATES OF HEAVEN 1 in a series of 3 February 17, 2008 This spring, the Seattle Art Museum is privileged to host a once-in-a- of an artist who could create lifetime exhibit of three panels of Lorenzo Ghiberti’s Renaissance bronze doors for St. James masterwork, the bronze doors of the baptistry of the Cathedral of Cathedral. While the Florence. A series of inserts in the bulletin will help us celebrate this Merchants’ Guild had held a event and learn more about “the Gates of Paradise” and our own contest which drew artists magnificent bronze doors created by Ulrich Henn. On Monday, March 3, the Seattle Art Museum will host an interfaith panel on Ghiberti’s from all over Tuscany, St. doors. Details coming soon! James Cathedral cast its net far wider. “After spending n April, 1424, Lorenzo considerable time on Ghiberti oversaw the research and study,” Father installation of his new Ryan has written, “we began doors for the baptistry an international search for an Iof the Cathedral of Santa artist to handle the Maria del Fiore. These commission. Artists from Ulrich Henn completed St. James Cathedral’s doors, depicting twenty across the country and bronze doors in 1999 scenes from the New around the world, including Testament, weighed thirty- some fine ones right here in the Northwest, submitted four thousand pounds and proposals for consideration. In the end, the decision cost twenty-two thousand Lorenzo Ghiberti tucked a self-portrait into was made to award the commission to the florins. Ghiberti, now 44 his “Gates of Paradise” internationally recognized German sculptor, Ulrich years old, had labored at them for twenty years—his Henn.” Well-known in his native Germany, Henn had entire adult life.