'Sculpture in the Age of Donatello' at MoBiA

We took in the exhibition 'Sculpture in the Age of Donatello' at the Museum of Biblical Art in March.  All 23 of the objects in the exhibition are from the Museo dell'Opera del Duomo in Florence.  The objects are only available during the renovation and re-imagining of the Museo dell'Opera del Duomo -- the museum associated with the Cathedral (Santa Maria del Fiore) of Florence (known as 'Il Duomo').  

There is an introductory video which seems to be about the reconfiguration of Museo dell'Opera del Duomo and the art treasures of the three buildings that comprise the Cathedral complex -- the Cathedral, the Campanile, and the Baptistry.  Many of these works had to be removed from the exteriors of the Duomo complex because they were suffering from environmental damage primarily caused by air pollution. 

The main gallery of MoBiA for the exhibiton 'Sculpture in the Age of Donatello'.  Photo by Blomme-McClure 

The exhibition has been beautifully mounted in MoBiA's main gallery which is divided by gauzy white fabric into niches and rooms.  The free-standing sculptures are mounted on high pedestals which approximate the way that they would have been seen in their original locations around the Cathedral complex.  While we were in the gallery a few visitors were actually lying on the floor to further approximate the views the Florentine public would have had when the sculptures were newly finished and installed. 

The exhibition features several masterpieces by the sculptor Donatello (Donato di Niccolo di betto Bardi, 1386- 1466) who worked in several Italian towns during the first half of the 15th century.  He spent several years in Florence creating works to embellish the Cathedral complex.  In addition to works by Donatello the exhibition contains several works from the end of the 14th century through the middle of the 15th century by other artists who often worked side-by-side with Donatello on the Duomo.

The most stunning work in the exhibition is Donatello's 'Saint John the Evangelist' (circa 1409-1411) -- a seated figure of the bearded evangelist holding a book (the gospel of John).  It originally stood beside the Cathedral's main western door -- no doubt passing judgment on Florentines as they entered the church.

'Saint John the Evangelist' by Donatello, marble, circa 1409-1411.  Photo by Blomme-McClure

Stern and austere, the bearded figure flanked the central western door of the Cathedral with Nanni di Banco's 'Saint Luke' of 1408.  

'Saint Luke' by Nanni di Banco, marble, 1408 and 'Saint John the Evangelist' by Donatello, marble,
circa 1409-1411.  Photo by Blomme-McClure

While the two figures are of the same scale, the 'Saint Luke' seems much less imposing due to the smug, self-satisfied facial expression and the complex drapery of his robe -- it's beautiful, but distracting.

'Saint Luke' by Nanni di Banco, marble, 1408.  Photo by Blomme-McClure

In the first niche inside the entrance there is a lovely, late 14th-century 'Annunciation' by Giovanni d'Ambrogio from about 1397.

'Annunciation' by Giovanni d'Ambrogio, marble, circa 1397.  Photo by Blomme-McClure

The sensuous robes of both the Madonna and the Angel Gabriel have remarkable detail and naturalness -- the fabric appears gossamer thin and beautifully draped.

'Annunciation' -- detail of the Angel Gabriel -- by Giovanni d'Ambrogio, marble, circa 1397.
Photo by Blomme-McClure

Donatello created several old testament figures to fill niches in the campanile.  Two are on display in this exhibition -- 'The Prophet Habbakuk' (also known as 'Lo Zuccone') and 'The Sacrifice of Isaac'.

'The Prophet Habbakuk' (aka 'Lo Zuccone') by Donatello, marble, circa 1423-1435.
Photo by Blomme-McClure

'Habbakuk' is an austere standing figure, approximately lifesize, bald and barefoot.  The strong lines of the drapery of his robe make the sculpture appear even taller and more commanding and gives it the elongated feeling of an El Greco saint.

'The Sacrifice of Isaac' by Donatello, marble, circa 1421.  Photo by Blomme-McClure

There's an almost Art Deco quality about 'The Sacrifice of Isaac' that Donatello sculpted around 1421 for the Campanile.  The blocky figure of Isaac passively waits for his father, Abraham, to strike the sacrificial blow, while the animated figure of Abraham writhes and recoils from the deed that God has commanded him to commit.  It is a gorgeously expressive work -- much more animated than most of Donatello's work.

The show also includes three hexagonal relief medallions from a set that Luca della Robbia created for the Campanile.

' Grammar' by Luca della Robbia, marble, 14th century.  Photo by Blomme-McClure

'Disputation' (aka 'Plato & Aristotle') by Luca della Robbia, marble, 14th century.  Photo by Blomme-McClure

'Music' (aka 'Orpheus') by Luca della Robbia, marble, 14th century.  Photo by Blomme-McClure

The whimsical scene of the lutist playing 'Music' to soothe the beasts of the forest is especially delightful.  And the animated 'Disputation' is almost like a cartoon panel from a comic book.

The della Robbia studio also created the crosier in gold and enamel to be carried by the bishop in processions and ceremonies in the Cathedral.

'Cr0sier' (detail) by Studio of Luca della Robbia, gold & enamel, 14th century.  Photo by Blomme-McClure 

Three gilded bronze panels show scenes from the life of Christ that were part of Lorenzo Ghiberti's original east doors to the Baptistry (opposite the Cathedral's main doors).  They are displayed with stone reliefs derived from the same compositions from the early 15th century.  These doors, commissioned in 1401, were later moved to the north side of the Baptistry when Ghiberti was given a second commission for the current east doors (which Michelangelo named the 'Gates of Paradise') in 1425.  After withstanding centuries of air pollution and corrosion, all of the original bronze panels from Ghiberti's two commissions have been moved inside the museum and restored.  Today the panels in the Baptistry doors are copies of the originals.

Three panels by Lorenzo Ghiberti, bronze, circa 1401 to 1424 displayed with stone reliefs derived from the same compositions.  Photo by Blomme-McClure

Ghiberti's individual bronze panels of the life of Christ from the 1401 commission display the rudimentary animation and use of perspective that came to full flower in his panels of the twelve Old Testament scenes for the 1425 commission.

'Adoration of the Magi' by Lorenzo Ghiberti, gilded bronze, circa 1401 to 1420.  Photo by Blomme-McClure

'Flagellation of Christ' by Lorenzo Ghiberti, gilded bronze, circa 1401-1420.  Photo by Blomme-McClure

'Crucifixion' by Lorenzo Ghiberti, gilded bronze, circa 1401-1420.  Photo by Blomme-McClure

For the 'Adoration of the Magi' Ghiberti uses two-point perspective in the temple surrounding the Holy Family.  In the 'Flagellation of Christ' there is a sense of movement in the torquing bodies of the Roman Centurions wielding their whips on the cringing Christ.  It also uses single-point perspective in the temple behind the figures.  In the 'Crucifixion' an overall symmetry focuses the viewer's attention on the figure on the cross.  Both Donatello and Brunelleschi were apprentices in Ghiberti's studio during the time that the panels for the 1401 commission were being created.

Donatello created two bronze heads to adorn his cantoria (singing gallery) inside the Cathedral.  They appear to be identical.  Luca della Robbia also created a cantoria for the Cathedral -- both are now in the museum.

'Bronze Heads' by Donatello, bronze, circa early 14th century.  Photo by Blomme-McClure

The wooden models for the Cathedral's dome (Il Duomo) created by Filippo Brunelleschi are miniatures of the gigantic dome he built over the Cathedral's crossing.  Brunelleschi won the commission for the dome in competition with Ghiberti.  After losing the 1425 competition for the Baptistry doors to Ghiberti, Brunelleschi had gone to Rome with his friend Donatello to study the architecture of the ancient city.  Inspired by the Pantheon in Rome, Brunelleschi devised an even larger dome for Florence.  It is an engineering marvel as well as an architectural triumph.

Models for the Cathedral dome by Filippo Brunelleschi, wood, circa 1418-1446.  Photo by Blomme-McClure

The exhibit, 'Sculpture in the Age of Donatello' will remain at the Museum of Biblical Art (on the northwest corner of Broadway & 61st Street) through June 14th.  I urge anyone interested in three-dimensional art to see it while it's here.  MoBiA is the only stop for this exhibition.  When the show closes all of the pieces in the exhibition will return to Florence to await installation in the renovated Museo dell'Opera del Duomo.  

See my blog post on our June, 2001 visit to the Museo dell'Opera del Duomo for more on the objects in this splendid museum:

http://zylopho.blogspot.com/2014/07/italian-trip-diary-day-7-florence-to.html

See my blog post on our 2001 visit to the Bargello Gallery in Florence to view additional works by Donatello:

http://zylopho.blogspot.com/2014/07/italian-trip-diary-day-6-florence.html

Italian Trip Diary -- Day #12 -- Padua

Sunday, June 24, 2001, Padua:

Sunday morning we walked through the old town to the Basilica.  There was a huge throng trying to get into the church for mass, so we elected to visit Oratorio di San Giorgio and the Scuola del Santo on the south side of the Piazza del Santo.  

Oratorio di San Giorgio (right) and Scuola del Santo (left) on Piazza del Santo in Padua.
Photo by Blomme-McClure

We were admitted by a very old custodian who did not speak English.  He gave us some rather stern instructions in Italian (which none of us speak).  The Oratorio is completely covered with frescoes recounting the lives of three saints – St. Lucy, St. Catherine and St. George.  The paintings are by Altichiero da Verona (a contemporary of Giotto) and Jacopo d'Avanzi.  

"Coronation of the Virgin' (in the lunette) and 'Crucifixion' (above the altar) frescoes by Altichiero da Verona and Jacopo d'Avanzi, in the Oratorio di San Giorgio, circa 1377-1384.  Photo from Wikipedia 

The custodian apparently has closed-circuit television surveillance of the Oratorio, because he came storming in when we started taking pictures – which is apparently against the rules.

Scenes from the life of Saint George by Altichiero da Verona (a.k.a Altichiero da Zevio)
 in Oratorio San Giorgio.  Upper panel 'Saint George Baptizing Saint Servius'.
Lower panel 'Saint George Liberated from Torture by Two Angels'.  Photo by Blomme-McClure

He had to unlock the Scuola next door which has magnificent frescoes about the life of St. Anthony at least partially painted by Titian.

'Saint Anthony Grants the Gift of Speech to the Newborn' by Titian, fresco, 1511.  Photo from Wikipedia

Both Carl and Doug decided to take pictures and the custodian first blinked the lights and then when we didn’t stop, he came storming in again and gave George (who had never even held the camera) a stern lecture (in Italian) with much gesturing.  We were saved by the appearance of a young man in jeans and sandals who let himself into the Scuola and began arranging music on the top of the organ.  We later saw the same young man in monk’s robes preparing to lead a prayer service there.

Somewhat shaken by ours encounters with the custodian, we left and made our way into the Basilica through the crush of people now leaving at the end of the service.  St. Anthony of Padua is apparently a place where families from all over the area make Sunday pilgrimages.  The Piazza was very festive after the mass, with lots of families gathering children darting all over the square and assisting doddering grandparents through the crowds.

The Basilica is a preview of the Byzantine style of San Marco in Venice with multiple domes and minarets springing up above the triangular pediment of the façade in an incredibly complex configuration.  

Basilica of Saint Anthony of Padua.  The side aisles were added after the nave was finished, 
accounting for the slight 'barn' silhouette of the pediment.  Photo by Blomme-McClure

Basilica of Saint Anthony of Padua from the rear cloister.  Photo by Blomme-McClure

Angel Gabriel atop the highest spire of the Basilica of Saint Anthony of Padua.
Photo by Blomme-McClure

Inside, the Basilica is filled with art -- frescoes, mosaics, sculpture and reliquaries.  The chapel behind the altar contains more than a hundred relics of saints – all in elaborate gold and silver cases encrusted with precious stones and crystal.  The actual tomb of Saint Anthony in the north transept is covered with photographs of people seeking the saint’s help.  Filled with worshippers at midday on Sunday it has a powerfully solemn, yet festive effect.

Coming out into the sunshine on the Piazza, we decided to stop for lunch at an outdoor cafe on the south side of the square not far from the famous equestrian statue by Donatello.

Equestrian statue of Erasmo da Narni (Gattemelata) by Donatello, bronze, 1453.  
Photo by Blomme-McClure

We sat near a large family group who had obviously just come from mass at the Basilica and were enjoying the early afternoon with a festive lunch.

Caffe Bar Gattemelata on Piazza del Santo in Padua where we stopped for lunch.
Photo by Blomme-McClure

After lunch we walked back through the old town with its University and coffee houses where the Risorgimento was enthusiastically embraced. 

University of Padua's Main Building.  Photo by Blomme-McClure

Palazzo del Bo (part of the University) with Cafe Pedrocchi on right.  Photo by Blomme-McClure

Cafe Pedrocchi, founded in 1772 and expanded to the present cafe in 1831-39, was the meeting place of
intellectuals from the University and leaders of resistance to the Austrian Empire.
Photo by Blomme-McClure

These rather ribald posters, apparently satirical commentary on politcal figures, were posted on walls around the University area.  Today I'm wondering if the one on the right is a caricature of Silvio Berlusconi.  Photo by Blomme-McClure

Then we visited the Municipal Gallery (Erimitani Museums) at the other end of town.  It is recently renovated and has a well-presented, if mediocre, collection of art and a well-reputed collection of antiquities.  Since it was a hot day, we were not very enthusiastic about being in a rather stifling space with no air conditioning.

The Scrovegni Chapel next door was closed for renovations, so we couldn’t see the famous frescoes by Giotto that are inside.  (It has since reopened with a spiffy new air filtration and humidity control system).  So we headed to the Caffe Cavour (Piazza Cavour 10, Padova, 8751224) for gelato before strolling back to the hotel.

That evening we had dinner at the Ristorante Cavalca (Via Daniele Manin 8, Padova, 8760061) not too far from the Hotel Belle Arte.  Dinner was fine except for a very loud, very drunk French Canadian at the next table who made the meal intolerable for everyone in the small dining room.  The charming young waiter seemed very apologetic and tried to be extra helpful with his limited English.

Italian Trip Diary -- Day #7 -- Florence to Siena

Tuesday, June 19, 2001, Florence to Siena:

We were so enamored with Florence that we asked the concierge if we could to delay our departure from the hotel as long as possible.  She allowed us an extra hour – until 1:00pm.  So we were able to visit the museum of the Duomo (Museo dell'Opera del Duomo) in the morning.  It is a wonderful museum which presents many of the treasures of the Duomo, the campanile and the baptistery in a beautiful, modern manner.  There were several restored panels by Ghiberti from the baptistery doors (the originals which were deteriorating from the atmospheric conditions). 

'Story of Esau and Jacob' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

'Story of Cain and Abel' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

(The entire set of original panels have now been restored and reassembled in this museum, displayed inside a giant 'casket').

There are also relief panels from the walls of the campanile.

One of the original relief panels from the Campanile.  Photo by Blomme-McClure

And original statues from the façades of the cathedral, the campanile and the baptisery are all displayed.

'Baptism of Christ'  originally above the East Doors of the Baptisery (replaced by copies).
Figures of Christ and John, the Baptist, begun by Andrea Sansavino and completed by Vincenzo Danti, 1501 to 1503.  Angel completed by Innocenzo Spinnazi in 1752.  Photo by Blomme-McClure

'Saint John, the Evangelist' by Donatello, marble, 1408-15, from facade of Duomo.
Photo by Blomme-McClure

'The Prophet Jeremiah' by Donatello, 1423-1427 from Campanile.
Photo by Blomme-McClure

Also there are lots of precious reliquaries and similar items.

Reliquary of gold and crystal containing chains.  Photo by Blomme-McClure

These fragments from an arch were beautifully displayed.  Photo by Blomme-McClure

But the most prized object is an unfinished (by now we are not surprised) 'Pieta' by Michaelangelo which supposedly includes a self-portrait and was intended for his own tomb.  Compared to other Michelangelo works that we saw in Florence, it seems rough, heavy and mournful – the figures each seem to be in a different scale and don’t relate easily to one another, creating great tension and requiring work from the observer to understand this grouping.

'Pieta' by Michelangelo, marble, 1547-1553.
 The hooded figure at top is thought to be a self-portrait -- this grouping was meant for
Michelangelo's tomb before he abandoned it.  Photo by Blomme-McClure

There is also a rather terse wood carving of “The Penitent Magdalene” by Donatello.

'The Penitent Magdalene' by Donatello, carved poplar, 1453 to 1455.
In this work Donatello may have conflated Mary Magdalene with Saint Mary of Egypt
 who lived as a hermit in the desert.  Photo by Blomme-McClure

In one room there are two white marble cantori (choir galleries) -- one by Donatello and one by Luca della Robbia – that are masterpieces of relief sculpture.

Choir Gallery with relief sculptures by Donatello, marble, 1433-39.  Notice how the figures continue behind the columns.  Photo by Blomme-McClure

Choir Gallery with relief sculptures by Lucca della Robbia, marble, 1431-1438.  
Photo by Blomme-McClure

Additional Relief Panels by Lucca della Robbia, marble, 1431-1438.
Photo by Blomme-McClure

We left Florence with reluctance, climbing up over the hills past the Piazzale Michaelangelo and San Miniato al Monte and savoring the views of the city for the last time.  The Autostrada to Siena runs through high green hills, many capped with hill towns or monasteries silhouetted against an increasingly cloudy sky.  Our arrival in Siena was inauspicious since we had incomplete directions to our hotel and proceeded to get lost in the maze of streets leading to the center of the city. Fortunately, signs to our hotel, the Jolly Hotel Siena (now the Hotel Excelsior, Piazza La Lizza, Siena; 0577 288448, http://www.nh-hotels.com/nh/en/hotels/italy/siena/nh-excelsior.html), appeared about the time we were getting a little frantic.

Our welcome at the hotel was chilly.  We were informed that due to a street fair the following morning we would have to park in a lot down the hill behind the fortress.  Carl accompanied the luggage up to the rooms, while George & I took the car down the hill to a crowded, but free, lot.  Returning to the hotel, we found that the hallways were dark and low-ceilinged, the rooms were tight and the whole place was pervaded with the smell of a sour cleaning solvent.  Fortunately, our corner room had a wonderful view over the stadium to the cathedral.

Siena Cathedral (Santa Maria Assunta) viewed from our room at the Jolly Hotel Siena.
Photo by Blomme-McClure

After a brief pause at the hotel, we decided to walk to the Piazza del Campo in the center of the city – the famous square where the Medieval horse race, the Pallio, is run once each summer.  

Piazza del Campo, Siena.  Photo by Blomme-McClure

It is a wonderful space – a huge fan shaped bowl that slopes down from the entrances to the stunning Palazzo Pubblico (the town hall) with a tall tower (Torre del Mangia) at the end of its façade.

Palazzo Pubblico (City Hall) of Siena begun in 1297.  The Torre del Mangia (bell tower)
was added in 1325 to 1344 with the crown designed by the painter, Lippo Memmi.
Photo by Blomme-McClure.

At the base of the Torre del Mangia is the Cappella di Piazza -- an al fresco chapel.
It was added in 1352 to thank the Virgin Mary for those who survived the Black Plague,
which dessimated Siena in 1348.  Photo by Blomme-McClure

Opposite the town hall is a beautiful fountain of gleaming white marble.

'Fonte Gaia' (Fountain of Joy) designed and built in 1419 by Jacopo della Quericia.
Photo by Blomme-McClure

'Madonna and Child' at center of 'Fonte Gaia' by Tito Sirrocchi, 1866.
The orginal sculptures by Jacopo della Quericia are now in a museum elsewhere in Siena.
Photo by Blomme-McClure

We found a table at Bar Manganelli on the square and had barely settled when an enormous thunder storm swept over the city.  It lasted for nearly 45 minutes, but we stayed comfortable and dry and enjoyed a nice, late afternoon lunch.  When the rains calmed down we made our way back to the hotel.

That evening we went out to dinner in a light rain to Antica Osteria da Divo (via Franciosa 25-29, Siena; 0577/284381; http://www.osteriadadivo.it/eng/chi-siamo.htm) a delightful restaurant in an ancient building tucked behind the cathedral.  The translation of the menu into English was hilarious and gave us all a case of the giggles, but the food and service were seriously wonderful.  During the course of our dinner the waiter dropped by to show us several desserts as they were being served to other customers.  Needless to say, we all had dessert.  The courses were interspersed with small “gifts” from the chef and the whole meal was capped off with a complimentary lemon liquor, Limoncello, which we all found refreshing.