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Netherlanders sculptors (at St. Denis from 1260): *
André Beauneveu, 1335-1400, an Early Netherlandish sculptor & painter, born in Hainaut, best known for his work with the French King Charles V & the Valois Duke, Jean de Berry. All his work shows a generally naturalistic & 'sculptural' style, characteristic of the 'Pucellian revival' of the late 14th century. In 1364 he was commissioned by Charles V to sculpt 4 marble effigies for new tombs (at the Abbey of St Denis) for his paternal grandparents, King Philip VI & Queen Joan of Burgundy, his father King John II of France & himself. The tombs were designed in the latest style, with brilliant white marble gisants (recumbent effigies representing the deceased) resting on polished black marble slabs (destroyed in 1793). The surviving gisants are still at St Denis but mounted on plain bases. The effigy of the King is shown as if still alive & its highly personalised features make it far superior to the other surviving effigies of this group, undertaken by other members of Beauneveu's workshop.
ill. Charles V, king of France and his wife Jeanne de Bourbon. King of the Valois dynasty.
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portraits (Holbein, Titian, Rembrandt or Goya): *
from LEFT to RIGT
Titian- Portrait of Gerolamo Barbarigo, 1510
Holbein-Portrait of Erasmus of Rotterdam, 1523
Rembrandt-Titus, the Artist's Son, 1657 see illustrations
Goya- Gaspar Melchor de Jovellanos, 1798
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Michelangelo (anatomy): *
“Through dissection Michelangelo studied every known animal, and did so many human dissections that it outnumbers that of those who are professional in that field. This is a considerable influence that shows in his mastery in anatomy that is not matched by other painters.”
extract from Life of Michelangelo, by Ascanio Condivi.
Having mastered anatomy Michelangelo wished to write a treatise to instruct other painters & sculptors. This treatise was never written, but a theory of Michelangelo has survived if tenuously. Condivi apparently had Michelangelo note son anatomy & passed them onto a Vincenzo Danti. The latter published a 14 volume study of Anatomy in 1567; this work reflect Michelangelo theory of proportions. The central thesis of this theory is that perfect proportions are revealed through the use of the parts of the body as revealed through anatomy, rather than on measurement. This theory fits well with Michelangelo’s objection to Durer’s theory of proportion on the grounds that it does not take into account ‘the movements and gestures of human beings.’
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Michelangelo (his Slaves): *
Commissioned by the Della Rovere 1513; grandiose plans were modified to a smaller monument; the lsves were to be elements of the lower part of the funerary monument, next to the pilasters which framed the niches containing the Victories. Their poses were determined by the needs of this architectural setting, so from the front they have great effect, but the side views received less care than usual. However, in the end, both slaves were eliminated from the monument in its final version, completed in 1542.
LEFT: The Rebellious Slave, RIGHT: The Dying Slave
