Donatello, Saint Mark발음듣기
대기중
Donatello, Saint Mark
44문장
0%
베트남어 번역 1명 참여
출처 : 칸아카데미
Donatello, Saint Mark
We're one the second floor of Orsanmichele, and here, one after the other, are the monumental sculpture that had once filled the niches outside.
It's important to remember that Orsanmichele is in many ways the place that the Renaissance began in Florence.
It began in this space that had both a secular function as a grainery but also a spiritual function...
It's also a church. ...and these were sculptures commissioned by the guilds, and so it makes sense that these first Renaissance sculptures would be commissioned not by a church, but by guilds. By these secular organizations.
Okay so let's take one as an example.
One of the important guilds in the city were the Linen Workers, and we're standing in front of St. Mark which is this monumental sculpture by Donatello.
We know it's the Linen Worker because he is standing on a pillow, presumably made of linen.
Right. If we think about him outside in that niche, and imagine walking by him, you could almost imagine the way that you would relate to him, that you could engage with him right on the streets of Florence.
This sense of civic pride of bringing beauty to the city.
There really is a sense of immediacy here.
This is Donatello's brilliance. I mean, here we have a figure that is first of all reviving the classical in really important ways.
This is a figure that is an incredible early expressions of contrapposto, that hasn't been seen with this kind of understanding for a thousand years.
If you look at so many of the other figures that were created for Orsanmichele, they still have that gothic sway to the hips and what Donatello gives us instead is something that looks very much like an ancient Roman sculpture.
Look for instance at the hips that push to his right, and over the engaged leg you have the cloth falling in perfect unbroken lines, almost as if that's the fluting of a classical column.
It's on the other side that you can see the knee breaking the cloth, and you can really get a sense, even though its under this heavy drapery, you still understand the movement of the body, the turn of the spine, the turn of the hips, the axis of the knees.
Yep, Donatello is barrowing this directly from ancient Greek and roman sculpture.
There's no other place he could have gotten this from.
And so, the figure, because of the contrapposto, really looks alive.
He looks like he can trully walk.
His feet are firmly planted on the ground.
The sense that the weight is shifting gives a sense that he could walk at any second.
We have an idea of sculpture beginning to be separate from the architecture, I mean, even though he was in a niche and he was intended for the architecture, the contrapposto, the sense of movement, gives us a sense of his autonomy from the architecture.
But it's also the authenticity of his experience, and so it's a revival of the classical not only in terms of the mechanics of the body, but also in terms of the experience of the individual.
You said a moment ago we would walk down the street and see this figure in a niche, there would be a comedian kind of relationship, and yes that's true, but at the same time he's seeing further.
He's also seeing past us. Right, it's this bringing together of the spiritual and the human.
So close at this moment in the early fifteenth century in Florence.
Look at the face, there's a kind of intelligence, there's a kind of internal focus, there's a kind of awareness that is just piercing, and he's thinking, he's reflecting on the gospels that he holds so easily at his side.
And perhaps he's about to speak them to us.
There is this way in which our eyes are drawn up through the planear quality of the drapery to the more focused handeling of the stone near the beard, near the eyes - look at that furrowed brow --
so that he's somebody that we can understand or approach in some real way.
You know, the sculptures like the ones by Ghiberti that are more in that high Gothic style the face is often more plain, right?
Yes. And less individualized, and our focus goes on those decorative forms in the drapery...
It's distracted in a sense! Exactly! And so we don't have that human to human connection that we're getting here, here instead of focusing - although the drapery is fabulous --
we look directly at the face, and we see the furrowed brow, the eyes that gaze out, the beard that animated his face and makes it seam even more thoughtful, his receding hairline.
Then we look down at his hands, and we can see that Donatello has clearly been thinking about human anatomy.
Those are not just generalized shapes for hands, but a sense of bone and muscle and veins, and then down to the feet, firmly planted on the ground.
When the Florentines looked up at St. Mark, they looked up at him and saw a figure that ...
It ennobled. That ennobled them! That they looked at St. Mark and could have a sense of their own profound diginity as human being, as Florentines in the early fifteenth century.
In a way, St. Mark is a mirror.
And so, isn't that exactly what this notion of civic pride, that was so tied in to fifteenth century Florence, was really about?
This notion that we can rise to our own ideals.
We can be like the ancient Romans, and be virtuous, and...
Shake off the corruption of the medieval, and in a sense return the greatness that man had once known.
번역
0%
We're one the second floor of Orsanmichele, and here, one after the other, are the monumental sculpture that had once filled the niches outside.발음듣기
대기중
It's important to remember that Orsanmichele is in many ways the place that the Renaissance began in Florence.발음듣기
대기중
It began in this space that had both a secular function as a grainery but also a spiritual function...발음듣기
대기중
It's also a church. ...and these were sculptures commissioned by the guilds, and so it makes sense that these first Renaissance sculptures would be commissioned not by a church, but by guilds. By these secular organizations.발음듣기
대기중
One of the important guilds in the city were the Linen Workers, and we're standing in front of St. Mark which is this monumental sculpture by Donatello.발음듣기
대기중
Right. If we think about him outside in that niche, and imagine walking by him, you could almost imagine the way that you would relate to him, that you could engage with him right on the streets of Florence.발음듣기
대기중
This is Donatello's brilliance. I mean, here we have a figure that is first of all reviving the classical in really important ways.발음듣기
대기중
This is a figure that is an incredible early expressions of contrapposto, that hasn't been seen with this kind of understanding for a thousand years.발음듣기
대기중
If you look at so many of the other figures that were created for Orsanmichele, they still have that gothic sway to the hips and what Donatello gives us instead is something that looks very much like an ancient Roman sculpture.발음듣기
대기중
Look for instance at the hips that push to his right, and over the engaged leg you have the cloth falling in perfect unbroken lines, almost as if that's the fluting of a classical column.발음듣기
대기중
It's on the other side that you can see the knee breaking the cloth, and you can really get a sense, even though its under this heavy drapery, you still understand the movement of the body, the turn of the spine, the turn of the hips, the axis of the knees.발음듣기
대기중
We have an idea of sculpture beginning to be separate from the architecture, I mean, even though he was in a niche and he was intended for the architecture, the contrapposto, the sense of movement, gives us a sense of his autonomy from the architecture.발음듣기
대기중
But it's also the authenticity of his experience, and so it's a revival of the classical not only in terms of the mechanics of the body, but also in terms of the experience of the individual.발음듣기
대기중
You said a moment ago we would walk down the street and see this figure in a niche, there would be a comedian kind of relationship, and yes that's true, but at the same time he's seeing further.발음듣기
대기중
He's also seeing past us. Right, it's this bringing together of the spiritual and the human.발음듣기
대기중
Look at the face, there's a kind of intelligence, there's a kind of internal focus, there's a kind of awareness that is just piercing, and he's thinking, he's reflecting on the gospels that he holds so easily at his side.발음듣기
대기중
There is this way in which our eyes are drawn up through the planear quality of the drapery to the more focused handeling of the stone near the beard, near the eyes - look at that furrowed brow --발음듣기
대기중
You know, the sculptures like the ones by Ghiberti that are more in that high Gothic style the face is often more plain, right?발음듣기
대기중
Yes. And less individualized, and our focus goes on those decorative forms in the drapery...발음듣기
대기중
It's distracted in a sense! Exactly! And so we don't have that human to human connection that we're getting here, here instead of focusing - although the drapery is fabulous --발음듣기
대기중
we look directly at the face, and we see the furrowed brow, the eyes that gaze out, the beard that animated his face and makes it seam even more thoughtful, his receding hairline.발음듣기
대기중
Then we look down at his hands, and we can see that Donatello has clearly been thinking about human anatomy.발음듣기
대기중
Those are not just generalized shapes for hands, but a sense of bone and muscle and veins, and then down to the feet, firmly planted on the ground.발음듣기
대기중
It ennobled. That ennobled them! That they looked at St. Mark and could have a sense of their own profound diginity as human being, as Florentines in the early fifteenth century.발음듣기
대기중
And so, isn't that exactly what this notion of civic pride, that was so tied in to fifteenth century Florence, was really about?발음듣기
대기중
칸아카데미 더보기더 보기
-
53문장 0%번역 좋아요3
번역하기 -
How to paint like Yayoi Kusama
258문장 98%번역 좋아요4
번역하기 -
The "Palace" and Grave Circle A, Mycenae, c. ...
44문장 0%번역 좋아요0
번역하기 -
Breastfeeding - Letdown Reflex
46문장 0%번역 좋아요1
번역하기
