Late Medieval Italian Sculpture - Essay Example

Late Medieval Italian Sculpture The late medieval Italian sculpture contributed towards the development of modern day Italian antiques, through the cultural and technological transformations experienced during the period. The transformation occurred through artists’ presentation of various humanitarian ideologies in the sculptures developed during the late medieval period. Following early developments during earlier medieval times and the numerous problems encountered within the late medieval period, sculptures developed during the late medieval period became fundamental in modern day history1. The sculptural styles within Italy received significant transformation during the late medieval period. This period remained critical in the production of some of the most famous architectural styles applicable in the modern world2. Three dimensional sculptures were introduced in church statue, as well as life size symbolic representations of numerous political and religious figureheads. During the late medieval period numerous sculptors arose, significantly contributing to the development of Italian sculpture designs. Nicola Pisano (c1220/1225-c1284) remains to be one of the most notable sculptors to have existed during this period. His profundity in understanding classical roman sculpture style contributed to it being identified as the father of modern sculpture3. One of his most notable works today is the Pulpit of the Pisa baptistery, which utilised different sculpture styles4. This was one of his first works in which he displayed profound understanding and knowledge of classical roman sculpture style. Having travelled widely across the country, Nicola possessed immense knowledge of different cultural sculpture styles displayed in his sculptures. Giovanni Pisano, another notable Italian sculptor also emerged during the transformational period of late medieval times5. Giovanni continued and worked together with Nicola Pisano and completed some of the works left unfinished by Nicola6. The elegant sculptures within the façade of Siena Cathedral were architectural designs of Giovanni. These possessed a blend of classical roman style with gothic style, a style commonly employed and developed by predecessor, Nicola. The continuity of Giovanni’s works appeared to display increased elaboration of Gothic style and less of classical roman style. The numerous works designed by Giovanni displayed his immense skill, leading to it being named “the first modern sculptor”. Through many of his later works, Giovanni represented the transformation from classical roman sculpture style to gothic style, which gained significant popularity through his works. Another famous architect and a significant contributor to the development of international gothic architecture is Andrea Pisano. Born in the late 13th century, this architect is believed to have developed his skills as an apprentice of Giovanni Pisano7. Many of his works, however, were located in Florence where he lived for most of his lifetime. His most notable work displaying impressive skill in gothic art remains the three bronze doors designed for the Baptistery for the Florence Cathedral8. In designing this architectural masterpiece, Andrea maintained simple and restrained architectural design. These doors displayed great expertise and design based on the standards of the late medieval period. During the late 14th century, international gothic style began to fade and the naturalistic renaissance sculpture style became popular. The popularisation of this style remains attributed to the Flemish sculptor, Claus Sluter. This sculptor was a strong proponent of realism, which contributed to the development in construction of human sculptures, representing social figureheads in different aspects of humanism9. His expression of naturalism was present in his sculpture, which was more earthly than idealistic. The figure developed by this sculptor remained more real than those of existing sculptors during that period. He is acknowledged for the development of plastic art, and the consequent movement from idealistic sculpture to real, expressive and voluminous figures. The antiques developed during this period remain to be some of the best available decorations in modern Italy. The architectural design of pillars developed during the late medieval period in Tuscany is common within modern day church buildings10. During the late medieval period, transformation occurred upon the commonly utilised Romanesque Architecture. The gothic architecture, developed during this period, continues to dominate numerous churches and designs of buildings in modern times. This architectural design is characterised by pointed arches, ribbed vault and flying buttress. The Roman Catholic Church continues to utilise gothic architecture in the construction of numerous churches across the world, with the aim of preserving the long history of the church. The material utilised by sculptors during these early times remained readily available natural materials, like marble11. With technological advancements and continued depletion of natural resources, modern day sculpture utilises composite materials developed artificially, and that provides the desired material characteristic. The design utilised, however, has been maintained from the late medieval sculpture styles. Italian sculptors during the late medieval period utilised natural materials collected from antique ruins within the locations of the sculptors’ workshops. Many of the sculptures developed during the late medieval period still have their Latin inscriptions, a factor which has significantly contributed to the preservation of Italian history12. The sculptors utilised marble because the material remained highly resistant to numerous elements causing dilapidation of the completed architectural works. The architectural designs of the late medieval times contributed towards the development of gothic art. This art represented transformation for the horizontal Romanesque sculpture design. The gothic sculpture developed from the increased curiosity concerning the human body, developed the gothic spirit among medieval sculptors13. Following development of gothic sculpture, many existing sculptors of that period started focusing on the construction of statues. The gothic spirit in Italy, during the late medieval times, focused on humanism and religious devotion14. This contributed to the numerous sculptures carved representing humans and significant religious figures like saints, among other religious idols. Many people continue to attribute gothic art to religion because of its continued manifestation within the religious circles. Though the church contributed to the development of gothic sculpture, the sculptors were hired to perform numerous designs for the churches. The churches were the only organisations that would offer employment opportunities to sculptors. During the early and middle medieval periods, the existing sculpture styles mainly involved the construction of buildings. The late medieval times, however, saw the introduction of statues within the church buildings. This remains as the fundamental contributing factor towards advancement in gothic art, and which focused on vertical carving, consequently creating human sculptures. The early sculpture was, however, engraved on church walls, after which the three-dimensional sculptures were developed15. Medieval sculptures contributed to the transformation of sculptors specialising in architectural designs of buildings and in the construction of human structures16. During the late medieval period, and with introduction of gothic art, many sculptors of this period began to specialise in the production of human sculptures, as opposed to previous periods when sculptors produced idealistic figures. The style, which originated in Italy during the late medieval times, became popular in other European countries17. The spread of the Italian sculpture style throughout Europe contributed to the transformation of the entire European continent and subsequent application of Italian monumental designs in the development of future figures by sculptors. Medieval sculpture styles could be attributed to the development of renaissance in Italy during the late middle ages. The concepts of humanism and religious devotions experienced during the middle Ages contributed towards later sculptural designs. The Black Death, which affected numerous European countries, significantly reduced the population of these nations, consequently reducing the workforce. Some positive aspects, however, resulted from the devastating event. With the reduced population, individuals became wealthier and had more income to spend on luxury items, a factor that resulted in to the development of professionalism in sculpture making18,19. The individuals developed an increased desire for luxury items, and sculptors began a renaissance of previously utilised methods in manufacturing these products; hence beginning of Italian sculpture renaissance. An increased advancement in architectural design and technologies within the late medieval period resulted into development of renaissance architecture20. This architectural design continued to be utilised in the presentation of historical information through carvings similar in design and structure to those developed during the late medieval periods. The renaissance architecture was adapted within numerous European countries, and was utilised in the celebration of famous statesmen21. The great expansion of renaissance architecture deeper into Northern Europe continued change and resulted later resulted into Netherlandish art, the name given to renaissance architecture in Netherlands. The application of this style remained limited in numerous churches and appeared to embrace the sculpture style developed in southern Europe22. Similar to the symbolism experienced within political societies, churches utilised sculptures in similar symbolism. Within many churches, statues of different saints, and that were attributed to the Christian faith were constructed. The late medieval period produced significant transformations in the art of sculpture making within Italy. The existing Italian sculptors during this period displayed significant skill, both in carving and in the designing of impressive monuments available even today. The church, during this period, offered sculptors with opportunities to display their expertise by engaging them in the making of statues for patron saints in numerous churches located within Italy23. The extensive availability of Italian sculptures in many places has contributed to the country being identified as the birthplace of modern day sculpture designs. During the late medieval period, humanism and social symbolism became fundamental elements of human societies. This remains as the major contributing factor towards the development of structures depicting humanity and social figures. The successors of many sculptors were encouraged to make sculptures of their predecessors. This symbolism has become fundamental in enhancing the preservation of historical information, regarding important social figureheads in different humanitarian aspects24. The construction of statues of political and social figureheads, observed in the 21st century developed during this late medieval period in Italy. References Ames-Lewis, F., 1997. Tuscan Marble Carving 1250-1350. Sculpture and Civic Pride. London: Ashgate Publishing. Angiola, E. M., 1977. Nicola Pisano, Federico Visconti and the Classical Style in Pisa, LIX, Iff.. The Art Bulletin, 59(1), pp. 1-27. Ayrton, M., 1969. Giovanni Pisano: Sculptor. London: Thames & Hudson . Carli, E., Pisano, G. & Amendola, A., 1986. Giovanni Pisano, Il Pulpito di Pistoia. Milan: G. Mondadori & Associati. Cassidy, B., 2007. Politics, Civic Ideals and Sculpture in Italy, c. 1240-1400. London: Harvey Miller Publishers. Cherry, J., 1992. Medieval Craftsmen: Goldsmiths. 2nd ed. London: University of Toronto Press. Coldstream, N., 1991. Medieval Craftsmen: Masons and Sculptors. London: British Museum Press. Jacobs, L., 1998. Early Netherlandish Carved Altarpieces 1380-1550: Medieval Tastes and Mass Marketing. Cambridge: Cambridge University Press. Lightbown, R. W., 1978. Secular Goldsmith’s Work in Medieval France: A History. London: Thames and Hudson. Mellini, G., 1970. Giovanni Pisano. Milan: s.n. Morand, K. & Finn, D., 1991. 1991.Claus Sluter: artist at the court of Burgundy. London: University of Texas Press. Morselli, P. & Moskowitz, A. F., 2003. THE PISTOIA PULPITS UNEVEN SUPPORTS: THE BASES FOR A HYPOTHESIS. Notes in the History of Art, 22(2), pp. 1-9. Moskowitz, A., 1986. The Sculpture of Andrea and Nino Pisano. Cambridge: Cambridge University Press. Moskowitz, A., 1994. Nicola Pisano’s Arca di San Domenico and its Legacy. University Park, PA: Pennsylvania State University Press. Moskowitz, A. F., 2001. Italian Gothic Sculpture: C. 1250-c. 1400. Cambridge: Cambridge University Press. Moskowitz, A. & Fiderer, A., 2005. Nicola and Giovanni Picasso: The pulpits, Pious devotion-Pious diversion, London.. London: Harvey Miller Publishers. Moskowitz, A. & Finn, D., 2005. 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