Visual Analysis: Sculpture

Slide 1: Michelangelo, David. Florence, Accademia

Slide 2: Giambologna, Mercury. Florence, Bargello (search Google for image)

giambologna_mercury

Slide 3: Nicola Pisano, Charity. Pisa Bapt Pulpit

Slide 4: Andrea Pisano, Annunciate. Pisa, Museo Civico

Slide 5: Tino di Camaino, Councillor. Pisa, Mus dell’O. (search Google for image)

camaino_tomb_cardinal_petroni

Slide 6: Donatello, David Florence, Bargello

Slide 7: Bernini, David. Rome, Villa Borghese

It   was   Cardinal Scipione Borghese   who   commissioned   the   statue  of  David,  confronting   the   giant   Goliath   and   armed   only   with  a  sling,  executed   between  1623  and  1624 by  twenty - five - year - old   Gian Lorenzo Bernini.  The   youth 's  tense   facial   expression  is  modelled  on  Bernini   himself  as he  struggle   with   his   tools  to  work   the   hard   marble....

It was Cardinal Scipione Borghese who commissioned the statue of David, confronting the giant Goliath and armed only with a sling, executed between 1623 and 1624 by twenty-five year old Gian Lorenzo Bernini. The youth’s tense facial expression is modelled on Bernini himself as he struggle with his tools to work the hard marble. The oversize cuirass leant to David by King Saul before the encounter lies on the ground with the harp David will play after his victory, which is decorated with an eagle ‘s head, a symbolic reference to the Borghese family.

The number of points of view the sculptor intended to present to the spectator is still a matter of conjecture. The right side shows David ‘s movements, his stride is almost a leap as he aims his sling; seen from the front the pose is frozen, just one second before the fatal shot, and seen diagonally there is a rhytmic balance between movement and pose.

Slide 8: Michelangelo, David, detail, torso

Slide 9: Donatello, St Mark. Florence, Orsanmichele

Donatello  St. Mark  1411-13 Marble  Height  236 cm Orsanmichele,  Florence  Donatello Saint Mark  1411. jpg

Donatello, St. Mark, 1411-13, marble, height 236 cm, Orsanmichele, Florence

Slide 10: Matisse, Slave. London, Tate (search Google for image)

Matisse_Slave

Slide 11: Giambologna, Astronomy. Florence, Palazzo Vecchio

giambologna_astronomy

The beautiful young woman depicted in this statuette is an allegory of astronomy as can be deduced from her attributes: prisma, armillary sphere, straight edge, ruler, plumb and drawing compass. Because of these attributes the sculpture in old inventories was listed as Venus Urania. It marks the culmination of Giambologna’s efforts to form the perfect nude. The beauty of its spiral composition demands appreciation from an infinite number of viewing positions. The statue was executed in 1573, and it was at about the same time that the artist created his Apollo sculpture for Francesco de Medici’s studiolo. The figure of Astronomy is its compositional counterpart.

Slide 12: Donatello, Magdalen. Florence, Museo dell’Opera del Duomo (search Google for image)

donatello_magdalen

Slide 13: Bernini, Magdalen. Siena Duomo, Chigi Chapel (search Google for image)

bernini_sainte_marie-madeleine_1661-62

Slide 14: Nicola Pisano, Presentation. Pisa Bapt Pulpit

Slide 15: Donatello, Feast of Herod. Siena Bapt, font

Slide 16: Donatello, Ascension. London, V&A (search Google for image)

donatello_ascension_relief_V&A

Slide 17: Donatello, Deposition. Florence, S. Lorenzo

Slide 18: Nicola Pisano, Adoration, Pisa Bapt Pulpit

Slide 19: Donatello, Miracle of Misers Heart Padua Santo

Slide 20: Desiderio da Settignano, St Jerome. Washington DC

Desiderio da Settignano  Florentine, 1428 / 1430 - 1464 Saint Jerome  in  the   Desert,  1461  marble,  42.7  x  54.8  cm (16  3 / 4  x 21  1/2  in.) Widener Collection

Desiderio da Settignano,Saint Jerome in the Desert, 1461,Florentine, 1428 / 1430 – 1464, marble, 42.7 x 54.8 cm (16 3 / 4 x 21 1/2 in.), Widener Collection

Slide 21: Donatello, Limbo I Resurrection. Florence, S. Lorenzo

DonatelloDonato  de' Bardi   detto   Donatello,Ressurrezione  -(Firenze   1386 - 1466) DonatelloResurrection  From   the   wide   horizons  of  his   vision  in  the   Padua   reliefs,  embracing   the   most   vast   and   complex   natural   and   architectural   settings   along   with   the   dramatic   nucleus  of  the   scene, it  now   seems   that   the   old   sculptor   narrows   his   aim  to  individua

DonatelloDonato de’ Bardi detto Donatello,Ressurrezione -(Firenze 1386 – 1466)

From the wide horizons of his vision in the Padua reliefs, embracing the most vast and complex natural and architectural settings along with the dramatic nucleus of the scene, it now seems that the old sculptor narrows his aim to individual episodes, connecting them, however, within a framework articulated in structure by a scenographic realism of extraordinary objectivity. Christ rises laboriously from the sleep of death, a heart – rending figure who towers over the setting of the sacred scene: a power higher than himself draws him from death into life, amidst the lifeless sleep of the soldiers and the now remote – and I would almost say buried – elegance of the weapons and pagan devices (Castelfranco).

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