Chapter 21

Humanism and the Allure of Antiquity:15th Century Italian Art

Gardner’s Art Through the Ages, 12e

Renaissance Florence

The Spread of HumanismDuring the Quattrocento (1400s), Italians increasingly embraced the tenets underlying humanism with its emphasis on education and on expanding knowledge (especially of classical antiquity). Humanism also fostered a belief in individual potential and encouraged individual achievement. Humanists also believed that citizen participation in the social, political, and economic life of their communities was obligatory. The influence of humanism in art can be seen in:•popularity of subjects selected from classical history or mythology•an increased concern with perspective & depiction of human anatomy correctly.•in the revival of portraiture & its relation to patronage•in citizens’ participation in civic & religious art commissions.

Competition for the Baptistery Doors The history of the early Renaissance begins with an art competition in Florence. In 1401, a competition was announced by the Arte del Calimala (Merchants' Guild) to design the baptistry North Doors. The subject, which was to be carried out on a panel, was the Sacrifice of Isaac. Seven sculptors competed, including Lorenzo Ghiberti, Filippo Brunelleschi and Donatello. The two finalists were Brunelleschi and Ghiberti with the 21-years old Ghiberti winning the commission. Ghiberti’s image was seen as more cohesive and presented a more convincing spatial illusion. The rocky landscape seems to emerge from the blank panel towards the viewer, as does the strongly foreshortened angel. Brunelleschi was so disillusioned that he took off for Rome to study architecture and never sculpted again.

Figure 21-1 FILIPPO BRUNELLESCHISacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”.

Principal detail

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Figure 21-2 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del

Bargello, Florence.

Figure 21-2 Detail

Center detail

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Figure 21-3 DONATELLOFeast of Herod, from the baptismal font of Siena

Figure 21-4 LORENZO GHIBERTI, east doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 17’ high. Modern copy, ca. 1980.

Figure 21-5 LORENZO GHIBERTI, Isaac and His Sons (detail) east doors, baptistery, Florence Cathedral, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”.

Figure 21-6 NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca. 1408–1414. Marble, figures approx. life-size. Modern copy in exterior niche. Original sculpture in museum on 2nd floor

of Or San Michele.

Figure 21-7 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, approx. 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of

Or San Michele.

Figure 21-8 DONATELLO, prophet

figure, Habbakuk (Zuccone), from the

campanile of Florence Cathedral, Florence,

Italy, 1423–1425. Marble, approx. 6’ 5”

high. Museo dell’Opera del Duomo, Florence.

Figure 21-8 Alternate View

Front center

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Figure 21-9 GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Santa Trinità, Florence, Italy, 1423. Tempera on wood, approx. 9’ 11” x 9’ 3”. Galleria degli

Uffizi, Florence.