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Italian Renaissance Sculptures 15th 16th cent.
- 1. Italian Renaissance Sculpture 15th and 16th Centuries
- 2. http://vimeo.com/1412119 Filippo Brunelleschi, Sacrifice of Isaac, competition panels 1401-1402 Lorenzo Ghiberti, Sacrifice of Isaac, Competition panels 1401-1402
- 3. Nanni Di Banco, Four Crowned Saints, Or San Michele, Florence, Italy, c. 1410-1416
- 4. Donatello, Saint Mark, Or San Michele Florence, Italy c.1411-1413.
- 5. Donatello, St. George, Or San Michele, Florence, Italy, 1410-1415
- 6. Donatello, David, c. 1440-1460
- 7. Donatello, Mary Magdalene, Florence, Italy, 1455-1455
- 8. Andrea del Verrocchio, David, 1465-1470
- 9. Equestrian Statue of Bartolommeo Colleoni, Venice, Italy, 1481-1496
- 10. Antonio del Pollaiuolo, Hercules and Antaeus, c. 1470-1475
- 11. Adams, Laura Schneider. Art Across Time. “Early Renaissance.” McGraw Hill. New York. 2011. 4th Edition. Kleiner, Fred S. Gardner’s Art Through the Ages. “Italy 1400 to 1500.” Wadsworth CengageLearning. Boston. 2009, 13th Edition. Smart History Videos. Vimeo.com. “Competition for the Baptistery Doors in Florence - Brunelleschi and Ghiberti (1401).” http://vimeo.com/1412119
Notes de l'éditeur
- The instruction included using the quartrefoil frame , which were the same ones used by Pisano on the south doors.And the same moment in time when the angels stopped AbrahamWhat are the differences?Brunelleschi’spowerful and forceful interpretationHe captures the moment when Abraham has conjured up the strength both mentally and physically to drive the knife through Isaacs, throatHe springs forward and Brunelleschi’s shows movement with the drapery sweeping behind AbrahamThe angel is forced to grab Abraham’s hand to stop the killing within seconds, movement, emotion, expression of annoyance in Abraham’s face, the anxious angel, and poor Isaac looking up to the heavens GhibertiThe youngest of the contestantsShows a more refined Abraham, with a
- This polychromed wood sculpture is one of the most expressive of Donatello's works. The emaciated, hollow-eyed, almost toothless figure seems to embody dramatically a mood that was only to surface at the end of the century in Florence under the spell of Savonarola. It is a radical departure from the classical models of his earlier work.