Sculpture Through the Ages: Renaissance, Neoclassicism, and Baroque
Renaissance Sculpture
The Renaissance spirit found inspiration in antiquity, seeking models that reflected shared ideals, human dignity, and the concept of humanity as the center of the universe. This era valued courage, emotion, balance, and the development of strong personalities, contrasting with the humility and sacrifice emphasized during the Middle Ages.
Quattrocento (15th Century)
Italian sculpture during the Quattrocento primarily utilized marble and bronze. There was a renewed interest in nature, with forms closely resembling classical styles. Sculptors rediscovered the nude form and focused on anatomy and realistic poses. Relief work saw significant development, employing pictorial concepts and emphasizing the representation of space and atmosphere.
Cinquecento (16th Century)
The Cinquecento witnessed a greater mastery of classical techniques and further consolidation of the Renaissance, building upon the advancements of the Quattrocento. Sculptors experimented with more precise forms of expression, prioritizing emotion. Harmony in sculptural forms was balanced with expressiveness, resulting in a heightened sense of monumentality and the transient nature of life.
The Renaissance in sculpture manifested in two primary ways: Spanish artists traveling to Italy to study classical sculpture and Italian sculptors migrating to Spain to cater to emerging tastes.
Neoclassical Sculpture
Neoclassical sculpture marked a return to classical themes and styles. Characterized by its emphasis on serene expression and the widespread use of marble and bronze, neoclassical sculpture achieved a remarkable uniformity across different regions, becoming one of the most internationally recognized styles.
Key Figures
- Antonio Canova: Canova began his career under Baroque masters and, by the age of 22, refined his style in Rome under the influence of Mengs and Winckelmann. He approached classical subjects with elegance and portrayed figures and scenes with great finesse. He also created portraits for Napoleon and the Papacy.
- Bertel Thorvaldsen: Born in Copenhagen, Thorvaldsen also traveled to Rome and immersed himself in the classical world. His interpretation was often colder and more rigid than Canova’s. He favored mythological themes but also created historical portraits, such as those of Copernicus, and the impressive Von Apostolate Frue Kirke in Copenhagen.
Baroque Sculpture
In the 16th century, the Mannerist movement displayed a trend towards denying and correcting proportions for greater expressiveness.
Composition, Method, and Plasticity
Figures became increasingly contorted, with spinning and forced positions. Compositions were based on diagonal and vertical lines, avoiding horizontal ones. There was a focus on presenting figures from multiple viewpoints.
Materials
In Italy, marble and bronze remained the primary materials, while in Spain, polychrome wood became popular for religious imagery.
Themes
Although mythological and religious themes persisted, the intent was to create figures that resonated with viewers through the extreme expression of emotion.
Models
Models were drawn from the immediate environment, prioritizing authenticity of emotion over idealized beauty.