Donatello, Madonna of the Clouds

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Donatello, Madonna of the Clouds발음듣기

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(lighthearted music) Male Voiceover: We're in the Museum of Fine Arts in Boston,발음듣기

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and we're looking at Donatello's Madonna of the Clouds.발음듣기

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It's this small marble relief.발음듣기

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Female Voiceover: And it's square, which is unusual, and it's what historians call a Rilievo Schiacciato.발음듣기

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When we say relief, you might have been thinking about a sculpture that had figures that stood out more from the background, but this is a flattened relief, where there's only the few millimeters that come up from the background of the marble.발음듣기

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Male Voiceover: And yet, what I find so remarkable is that Donatello is able to achieve a great sense of depth, despite, or perhaps, because of the flatness of the relief carving.발음듣기

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Female Voiceover: This is a technique that he developed very much to help to create and illusion of space;발음듣기

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something that was so important to early Renaissance artists.발음듣기

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Male Voiceover: Looking at this carving, I'm reminded of the extraordinary strides of naturalism that took place in the 15th century, developed by artists like Donatello, by Masaccio, by Mantegna and others.발음듣기

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Female Voiceover: I think, very much, Donatello wants to convince us of the realism of this scene.발음듣기

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Male Voiceover: Well, look at Mary, she's got real volume, real weight; her right leg seems to fall open towards us.발음듣기

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There really is this sense of mass and volume, even though it's this little marble carved just millimeters deep.발음듣기

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Female Voiceover: Donatello spent so much time on those folds of drapery that really show the form of the body underneath,발음듣기

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but that also take on a lovely life of their own as they swoop up and around Mary's thighs, or around her shoulders, or that headdress that she wears, where the folds flip over one another;발음듣기

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so the curves, the rhyming curves of the drapery echo the form of the clouds below.발음듣기

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Mary, in a way, becomes one with the heavens.발음듣기

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Male Voiceover: There are these beautiful, intimate passages.발음듣기

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Look at the way that the body relates to that drapery, the way it sort of falls over it,발음듣기

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and you really get a sense of Donatello paying attention to ancient Greek and Roman sculpture.발음듣기

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Her left foot pulls the drapery forward, and makes it taught and creates that wonderful sense of volume.발음듣기

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Female Voiceover: Or we could look at her right hand.발음듣기

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The tips of Mary's fingers go into the drapery and we get a sense of the drapery pulling around her hand.발음듣기

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Male Voiceover: Or her other hand, which clasps Christ, and especially his shoulder, in the way that she presses flat his flesh.발음듣기

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Female Voiceover: There's no other reason to do this than to convince us of the naturalism of this.발음듣기

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Male Voiceover: Except that here she is on a cloud-like space that almost looks as if it's a kind of stream, on the one hand is naturalism, but on the other hand, she's surrounded by these little angles with halos.발음듣기

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Female Voiceover: But, that's exactly what the early Renaissance is, right?발음듣기

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It's this odd combination of realism, of paying attention to the body, of paying attention to an illusion of space, of paying attention to human emotion;발음듣기

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and we certainly see that here in the relationship of Mary and Christ, this kind of tenderness.발음듣기

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We pay attention to all of those for real human experiences, but at the same time we're looking at a spiritual scene.발음듣기

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Male Voiceover: Look at the variety of kinds of carving that are in this small piece of marble.발음듣기

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Mary's face is the most deeply carved of anything on this panel.발음듣기

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You have a deepest shadow that's outlining her profile, and it reminds me of an ancient Roman cameo, the way that she's in perfect profile,발음듣기

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but also the way that the shadow outlines that face.발음듣기

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Female Voiceover: There's also shadow by her eyes and her nose; creates a sense of sadness as she tips her head forward toward Christ.발음듣기

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Male Voiceover: There is a sense of melancholy throughout this entire image.발음듣기

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These are not joyous angels.발음듣기

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There's clearly a sense of the eventual tragedy.발음듣기

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Female Voiceover: Well, she looks as though she's protecting him; she encloses him within the form of her body and brings him towards her, what seems to be a protective gesture.발음듣기

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Male Voiceover: She is monumental. Christ is monumental.발음듣기

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The angels that surround them immediately are fairly substantial, but Donatello's able to achieve a real sense of depth by reducing the scale of the angels as we move back in space,발음듣기

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and also by reducing the depth of the carving so that the angels in the upper corner and the upper left corner are carved in the most shallow possible way.발음듣기

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Female Voiceover: Look at, for example, the angel on the upper right, the tip of her wing is not even carved, it seems to just move back into space;발음듣기

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so there is this sense of atmosphere that these figures seem to exist in.발음듣기

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Male Voiceover: And yet, Donatello was a able to achieve this extraordinary expressiveness in just millimeters. (lighthearted music)발음듣기

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