Quattrocento:

Growth of portraiture in Italy Concern for individual (individualism) Accomplishments of individual

Medieval statues attached to church – subordinate to it Earlier portraits connected to devotional foundations Jamb Statues Ekkehard and Uta

Renaissance portraits are worldly Freed from church – symbolically & literally Niche statuary Public sculpture

Shift from salvation (glory in afterlife) to worldly glory Military leaders St. George – symbol of worldly glory – symbol of – on the state seal of Florence

Lorenzo ‘the Magnificent’ de Medici Patronage Literati Revival of classical philosophy, literature, art Harmonizing classical humanism w/ Christian Church

Or San Michele Granary for Florence / Shrine to Virgin and Child Guilds in charge of building Decorated with niche sculpture Each guild responsible for a niche Competition among guilds

Nanni di Banco Quattro Coronati (1408-1414) Guild of wood and stone carvers Based on 1 st century Roman sculpture Verism Frieze shows guild craftsmen at work

Donatello Assistant to Ghiberti Became the agon to his mentor Most influential sculptor of

St. Mark (1411-1413) Contrapposto! Classical movement Compare to chiastic pose of Doryphoros by Polykleitos 8’ in height

St. George (1415-1417) Commissioned by guild of armorers and sword makers Proudly holding his shield Wore helmet / held sword Unyielding and calm – placement of feet & hands Florence’s independence and strength Frieze uses schiacciato – faint relief, almost line-like Approximation of sculpture to painting Single point perspective in sculpture

David (ca. 1428-1432) Biblical subject – classical form Humanist appeal Contrapposto 1st freestanding nude since classical antiquity Compare to Hermes and Dionysos by Praxiteles

Gattamelata (1445-1450) Portrait of Erasmo da Narni Condottieri – mercenary noble Commissioned by citizens of Padua Compare to equestrian statue of Marcus Aurelius Peaceful – sheathed sword Calm direction / leadership

Antonio del Pollaiuolo Hercules and Antaeus (ca. 1475) Medici commission Table statue No precedence for type – struggling figures Movement yet balance Struggle yet harmony Contrast to placid figures of David Departs from frontal view

Verrocchio David (ca. 1465-1470) More Renaissance humanism Worldly accomplishment – strength of individual Less classical than Donatello’s work

Bartolommeo Colleoni (ca. 1483-1488) Commander persona – condottieri Stands in saddle Flexed leg – tense Grim determined expression Slight bend forward

Image of respective cities Padua – humanism vs. Venice – power