'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 #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.

Italian Trip Diary -- Day #6 -- Florence

Monday, June 18, 2001, Florence:

We started the day at the Bargello Museum, famed for its collection of Renaissance sculpture – especially masterworks by Donatello.  The museum spirals up three stories around a delightful open courtyard with a grand staircase leading up to an open loggia on the second floor.  

Courtyard and staircase of Bargello Museum, Florence.  Photo by Blomme-McClure

Second floor loggia of Bargello Museum, Florence.  Photo by Blomme-McClure

Interior of loggia, Bargello Museum, Florence.  Photo by Blomme-McClure

Donatello’s “John the Baptist”, “St. George”, and “David” are all magnificent examples of his lithe, elegant figures – usually in rather contemplative, static poses and all beautifully finished.  While lacking the weighty tension of Michelangelo’s finest works they are completely enchanting.  

'St. George' (in niche) by Donatello, marble, 1417,
from the church of Orsanmichele, Florence.  Donatello's 'St. John, the Baptist'
in foreground.  Photo by Blomme-McClure

'St. John, the Baptist' by Donatello, wood & polychrome, c. 1422.
Donatello's 'St. George' in background.
Photo by Blomme-McClure 

'David with the Head of Goliath' by Donatello, bronze, circa 1469.
Photo by Blomme-McClure

The Bargello has two 'Davids' by Donatello.  The other is wearing a hat or helmet which makes him look too effeminate.  

In addition to the Donatellos, the Bargello contains pieces by Micahelangelo and the della Robbia family, among many other wonderful works.

'Bacchus' by Michelangelo, marble, 1496-97. Photo by Blomme-McClure

'Madonna of the Architects' by Andrea della Robbia, glazed terra-cotta, 1475.
Photo by Blomme-McClure

After the Bargello, we walked to Piazza Santa Croce, where the lovely white, pink and green marble of the façade of the Basilica of Santa Croce stood out against swirling, grey storm clouds – it never really rained, but the sky was quite dramatic all day.

Basilica of Santa Croce, Florence.  Photo by Blomme-McClure

We stopped for lunch at the outdoor terrace of Ristorante Santa Croce (Piazza Santa Croce 11r, Firenze, 055/2479896) on the square.  It was fun to sit and watch the activity on the square – particularly a shrewish woman across the way arguing with two workmen who were erecting a scaffold that was going to block her window with the shutters permanently open.  We watched this little drama unfold and before we were finished with lunch the scaffold was coming down.

Statue of 'Dante' by Enrico Pazzi in Piazza Santa Croce, Florence.  Photo by Blomme-McClure

After lunch we went inside the church which (like all churches we visited) is filled with beautiful works of art – sculpture, painting, frescoes, carvings, and reliquaries.  

Chancel and altar of Santa Croce, Florence.

Altar of Santa Croce with frescoes by Agnolo Gaddi and others.  Photo by Blomme-McClure

'Annunciation' by Donatello, gilded stone, 1435, in Santa Croce, Florence.
Photo by Blomme-McClure

'Crucifixion' by Taddeo Gaddi, fresco, 1360, in Sacristy of Santa Croce, Florence.
Photo by Blomme-McClure

The Basilica of Santa Croce is also the site of the tombs of many famous Italians, including Michelangelo, Galileo and Machiavelli.

Tomb of Michelangelo designed by Giorgio Vasari.  Photo by Blomme-McClure

Tomb of Galileo Galilei in Santa Croce.  Photo by Blomme-McClure

Medici Chapel with 'Altarpiece (Coronation of the Virgin)' by Andrea della Robbia.
Photo by Blomme-McClure

Leaving the church, we stopped briefly to look at the Pazzi Chapel designed by Brunelleschi.

Brunelleschi's Pazzi Chapel in cloister of Basilica of Santa Croce.  Photo by Blomme-McClure

Then we crossed the Arno and walked along the river to the Pitti Palace and the Boboli Gardens. 

Motor scooters parked along the bank of the Arno.  Photo by Blomme-McClure

River facade of Uffizi Gallery from across the Arno.  Photo by Blomme-McClure

The Boboli Gardens are extensive, but somewhat unkempt.  They sweep up the steep hill behind the palace to a small rose garden with views across to the hilltop where San Miniato al Monte sits.  

San Miniato al Monte from upper belvedere of Boboli Gardens.  Photo by Blomme-McClure

From this high point they descend to an artificial lake with an island containing a sculpture of Neptune.  

Looking down from the top of the Boboli Gardens to the Pitti Palace and Florence beyond.
Photo by Blomme-McClure

'Giant Fractured Head' by Igor Mitoraj on a path in the Boboli Gardens.  Photo by Blomme-McClure

There is lots of sculpture scattered through the gardens.

Fountain?  Drainage?  These grotesque heads channel water down the hillside.
Boboli Gardens, Florence.  Photo by Blomme-McClure

Queen Anne's Lace framed against a dark archway.  Boboli Gardens, Florence.
Photo by Blomme-McClure

Hydranga and other flowers along a path in the Boboli Gardens, Florence.
Photo by Blomme-McClure 

View of Campanile and Duomo from the Boboli Gardens exit path.  Photo by Blomme-McClure

It was a lovely, if arduous, way to end the day as the sun danced in and out of the clouds.  After the gardens, we stopped for granites at a sidewalk café across from the entrance to the palace.

Flowers outside a florist shop near the Pitti Palace, Florence.  Photo by Blomme-McClure

Then we made our way back across the Ponte Vecchio to the hotel – always tempted to visit ‘just one more’ church along the way, but too tired to do it.

At the Duomo the space between the church and the baptistery had been cleared for a procession of the clergy celebrating something??  The gates in front of the baptistery had been opened and we were able to get unobstructed views of the wonderful bronze reliefs by Ghiberti that Michelangelo called “the gates of Paradise”.  

Ghiberti's East Doors of Baptistery, Florence.
Michelangelo called them the 'Gates of Paradise'
Photo by Blomme-McClure

We were too exhausted to stay for the parade (which we learned was still about an hour off) preferring a nap before dinner.

That evening we ate at Ristorante Buca Lapi (Via del Trebbio 1r, Firenze, 213.768, http://www.bucalapi.com/).  It is in a cellar.  We sat in a room with a large barrel arch papered over with hundreds of travel posters.  Unfortunately, the sound from a particularly loud, obnoxious American party carried directly to our table and spoiled the effect of the delicious food and good service.  Maybe the dining room nearer the kitchen would have been a better choice – certainly it would be worth a try.