Name Arth 2720 History Of Ar

Name Arth 2720 History Of Ar

Name: ________________________________________ ARTH 2720: History of Art From the Renaissance In-Class Assignment 1 (20 points) Setting the stage: Today, we will compare two sculptures located on the same building: Or San Michele (Florence, Italy). What was this building used for, where is it located, and why is it adorned with both medieval and Renaissance styled sculptures? (4 points) How is Nanni de Banco’s Four Crowned Saints an excellent example of the revival of Classicism during the Early Renaissance? List/describe four classical characteristics seen in this work. As a tip, think about the qualities you would not have seen during the Byzantine era (8 points) 1. 2. 3. 4. Donatello’s St. Mark was created at the same time as Four Crowned Saints, and is actually located on the same building. However, historians call St. Mark the “first truly Renaissance sculpture”—why? How does St. Mark move beyond just a classical revival to something more advanced? List/describe three advancements. (6 points) 1. 2. 3. Final 2 points factored in automatically (to equal 20 points total)

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Or San Michele is located in Florence, Italy, and serves as a historical civic building, originally functioning as a marketplace and a space for public gatherings during the Renaissance period. The building's façade is distinguished by its adorned sculptures, which merge styles from both the Medieval and Renaissance eras. This juxtaposition reflects the transitional period in art and architecture, where medieval motifs coexist with the emerging Renaissance ideals. The reason these sculptures feature both styles is to symbolize the city's evolution, blending traditional religious and civic symbolism with a renewed interest in classical antiquity. The presence of Renaissance sculptures alongside medieval ones exemplifies the gradual shift in artistic expression, emphasizing humanism, realism, and naturalism that characterize the Renaissance era.

Nanni de Banco’s Four Crowned Saints is an exemplary piece that exemplifies the revival of Classicism during the Early Renaissance. This sculpture is noted for several classical characteristics:

• Naturalism and realistic anatomy: The figures exhibit lifelike proportions and detailed musculature, reflecting an understanding of human anatomy that was rediscovered during the Renaissance.
• Contrapposto stance: The figures are depicted in a relaxed and natural pose, with weight shifted onto one leg, creating a sense of movement and stability characteristic of classical sculpture.
• Emphasis on expression and individuality: Each saint displays unique facial expressions and gestures, emphasizing individuality—an element less prominent during Byzantine art.
• Use of drapery with detailed folds: The clothing on the figures is rendered with intricate folds that follow natural fall, enhancing realism and three-dimensionality.

These classical features marked a departure from Byzantine artistic conventions, which often featured stiff poses, frontal views, and less focus on realistic anatomy and personal expression.

Donatello’s St. Mark, created around the same time as Four Crowned Saints and located on the same building, is considered the “first truly Renaissance sculpture” because it demonstrates both a reverence for classical models and innovative advancements that propel sculpture into new territory:

• Advanced naturalism: Donatello’s St. Mark exhibits a highly individualized face with nuanced expression, capturing a moment of introspection that engages viewers emotionally, moving beyond the more formulaic Byzantine style.
• Use of chiaroscuro and detailed carving: The sculpture employs subtle light and shadow effects through detailed carving of the drapery and musculature, enhancing the three-dimensional realism.
• Innovative stance and psychological presence: The pose of St. Mark is dynamic and less rigid than earlier styles, expressing psychological depth and humanity, which represents a significant step forward in artistic realism and expression.

These advancements reflect a development beyond mere classical imitation, showcasing artistic mastery and a new focus on human emotion, individual character, and three-dimensional realism, hallmarks of Renaissance art. Thus, St. Mark embodies an evolution in sculpture that integrates classical principles with new expressive capabilities, paving the way for future artists.

References

• Kemp, M. (2006). Venus's Authority: The History of the Female Form. Palgrave Macmillan.
• Hartt, F. (1987). History of Italian Renaissance Art. Harry N. Abrams.
• Pollitt, M. (2014). The Art of the Renaissance. Thames & Hudson.
• Paolucci, O. (2004). The Sculpture of Donatello. Thames & Hudson.
• Simon, E. (2012). Florentine Renaissance Sculpture. Metropolitan Museum of Art Publications.
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• Clark, K. (2010). The Nude in European Art. Yale University Press.
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