The Renaissance sculpture has come a long and difficult path from Bendetto Antelami’s timid attempts to bring into their work individuality, character and non-standard, to the brilliant and flawless works of the Vatican creator Michelangelo Buonarotti.
If in the Middle Ages, sculpture was inextricably linked with architecture and was not even considered as a separate art, then with the beginning of the Renaissance, the slow but sure process of separating the sculpture begins, releasing it from dependence on architectural ideas. Sculptures gradually "move away" from the walls of temples, from reliefs and porticos, becoming an independent, self-sufficient art.
The Renaissance is divided into three periods, the first of which dates back to the 13th century, and the last ends the 16th century.
Art Benedetto belongs to the Romanesque era. However, in his works (reliefs of the Parma Cathedral) the desire to break free from the narrow framework of the canonical Middle Ages is already guessed. His sculptures are still disproportionate, simple, but in their faces one can see an attempt to convey the intellect, creativity and beauty of a person.
The tradition was picked up by the sculptors Pisano and di Cambio. Their sculptures are not just the search for new aesthetics, the quest is associated with the best examples of ancient antiquity, the desire to return to which gave rise to a revolution in the look at beauty.
The sculptures of Verrocchio and Donatello finally “detached” from the walls and are independent works of art.
Biblical David, played by the great teacher Leonardo (Andrea Verrocchio) - an awkward, angular teenager, astounded by his own victory over the giant, proudly tramples the head of a fallen enemy with his foot. There is a barely perceptible smile on the face of the hero, and children's curls and deliberately "heroic" pose evoke emotion. The master depicted a young man with a difficult teenage character. Self-confident, rebellious warehouse. The work turned out realistic both in appearance and in internal content. There is no shadow of medieval pathos, pathos. Here the author admires an ordinary boy who turned out to be a hero.
It was Donatello who first created the nude sculpture of the Renaissance. Before him, no master dared to come so close to ancient models, bringing in them the Christian virtue. David Donatello - also awkward and somewhat angular. The proportions of the body are treated quite gently, the hero is deprived of pronounced muscles. The pose of the hero chosen by the author is free and relaxed. This is a posture of a Greek god rather than a biblical character. It is known that for its time the sculpture was so bold that the Medici who ordered it chose to install it in the courtyard of their home, away from prying eyes.
The rapid development of art, and sculpture in particular, occurred at the turn of the 15th and 16th centuries, when large-scale construction began in Rome, Florence, Venice and other major cities of Italy. This period, which bears the proud name of "High Renaissance", is associated primarily with the name of Michelangelo.
The works of the master of genius admired contemporaries no less than the modern viewer. After the public saw the sculpture “The Dying Slave”, rumors spread in society that the model was tortured so that the suffering could be depicted more accurately.
Michelangelo became famous for his sculptures adorning the Vatican, Rome, Florence. His work "Pieta" - the pinnacle of world sculpture, a manifestation of brilliant abilities. Heroes of the genius suffer, reflect, rejoice. They have so much content, energy and depth, that admiring the magnificent works of a genius probably never stops. More information about the works of the master can be found here.
Watch the video: Florence, Italy: Michelangelo's David (October 2019).