Introduction to the (magniloquent) florentine school
Origins and characteristics of the Italian painting from late 13th to 16th centuries
Key Words: Florence, early renaissance, harmony, humanism.
Detail from the “Madonna of the Magnificat” (1481) by Sandro Botticelli (1445-1510).
“A major Italian school of art that flourished between the 13th and 16th centuries, extending from the early renaissance to the crisis of this very culture”. Thus is described the place of origin of the renaissance which is known as “Quattrocento” as well. I began to be interested on this period of time in art because it is somehow the one placed in the transition to come off with the Middle Ages traditions and begin to look at the human being with a different regard. It is the change to more modern, wider and lighter times.
It is generally thought that the founder of this new movement was the master Giotto di Bondone (1276-1337) with his innovative and colourful works. He set Florence as the foreground of the pre-renaissance art. In his biography about the artist, Giorgio Vasari writes: “Giotto truly eclipsed all the painters who had lived before him, and, revealing the true method of drawing accurately from nature, he brought to life an art which had been buried for centuries. Through him, the crude Greek manner was transformed into the modern manner, and he made it possible for us to call his works divine rather than human”.
“The mourning of Christ or Lamentation” (1306) by Giotto. Detail from the frescoes of the Scrovegni Chapel, Italy.
His successors (Fra Angelico, Taddeo Gaddi, Masso di Banco), developed along the line he had originated. The theme of these works of them was still in a great measure, religious.
Now, in the early decades of the 15th century, the late gothic decorative style still predominated. As a great example we got the Gates of the Baptistery in Florence made by the sculptors Andrea Pisano (1290-1348) and lately, Lorenzo Ghiberti (1378-1455).
One of the main improvements made during this time was the development of practices and formules for achieving depth perspective and other problems concerning visual relationships and proportions. There is a most obvious tendency towards the use of linear and flat forms in art and architecture, as well. Humanism, intellect and beauty was the objective of it all.
Detail from the “Gates of Paradise” in Florence (1425-1452).
Three men would strongly mark this period: Filippo Brunelleschi (an architect), the sculptor Donatello and the painter Masaccio. After them should be also named Beato Angelico, Paulo Ucello and, how not, Sandro Botticelli.
By mid 15th century there was a larger variety of motifs. Classic mythology is brought back to life with the most remarkable works of Botticelli. The human representations made during the peak of the Quattrocento are of an extraordinary nature and beauty.
About their aspect and behaviour: From my point of view, all characters in the composition are extremely ethereal and there is something graceful about their expression… I could not entirely describe it. Following the classic patterns, their beauty is Idealized and their bodies of a perfect balance. Their elegant and delicate features are achieved due to their slender figures, especially in the depiction of necks and limbs. I am of course talking of both male and female characters.
Something that really got my attention in Botticelli’s humans is that their wavy, flowing, most times of a dusty golden hair gives them the presence of almost divine creatures.
While their emotions vary on the subject of the painting, most of them show serenity, contemplation and sometimes, melancholy and longing.
Fragment showing a young St. John the Baptist- Botticelli
The artist loves detailing. So, the landscape is typically charged with symbolism. Ex: in “La Primavera” the meadow in which the elements are disposed is full of flowers. This means fertility, love or even prosperity. The placement of natural components like trees is carefully planned to lead the viewer’s eye and create a sense of order and harmony.
Now, some of these ideals will not prevail for the rest of the Renaissance movement. There will be changes: the paintings will be more realistic, new techniques will be developed and the artistic centre will pass from the eternal Florence to the powerful Rome. However, today we wouldn’t see much of the High Renaissance excellence without the bases and humanistic fundaments that this early period of transition and changes towards perfection gave to it.
“Portrait of a young man holding a medallion” (1485) by Botticelli.
Thanks for reading!