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Donatello (Firenze 1386 circa – 1466), Crocifisso, 1407-1408 circa. Legno intagliato e dipinto, Firenze, basilica di Santa Croce.

The statues of the Uffizi Gallery and Paintings hosts from March 21 to August 28, 2016 a temporary exhibition offering for the first time to the public, through a nucleus of about fifty works, painted wooden sculpture of the Florentine Quattrocento, a topic studied with passion by Margrit Lisner and Alessandro Parronchi, but still niche and known almost only to insiders, albeit dotted with works of great artistic value. 

In Florence painted sculpture of the fifteenth century, in line with the artistic leadership of the sculpture, he was a essential expressive model for all artists.In particular, the theme of the suffering body on the cross, modeled with a new naturalism heard in the crucified by Donatello and Brunelleschi, was the object of reference for the work of later generations of artists. 

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Donatello (?) (Firenze 1386 circa – 1466), San Girolamo, 1460-1470. Legno intagliato e dipinto, Faenza (Ravenna), Pinacoteca comunale.

Beside the qualified production of crucifixes, is also carved statues of Madonna, saintly and holy hermits tormented by bodies or preserved by pain, portrait busts, statues in the middle of mixed altarpieces and statues for the liturgical furnishings. 

Donatello and Brunelleschi painted, presumably, as well as shape their works, as the colorfulness notch formed along an essential element for the achievement of that naturalism that were pursuing in their works. These include the proud Crucifixes of Santa Croce and Santa Maria Novella. 

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Bartolomeo Bellano (Padova 1434 circa – 1496 o 1497), San Bernardino da Siena, 1450-1455 circa. Legno intagliato dipinto e dorato, Padova, chiesa dei Santi Filippo e Giacomo agli Eremitani.

Many sculptors instead to paint their works addressed to painters. Blacks of Bicci, who had started a shop in Florence in via Porta Rossa, was one of the most popular painters for the purpose: he painted carved busts by Desiderio da Settignano and crucifixes by Benedetto da Maiano; with monaco-sculptor, Don Romualdo from Candeli, the painter entertained a close working relationship, described in his' Ricordanze ', and attested by Maddalena to Museum of the Collegiate of Sant'Andrea in Empoli, present in the exhibition. 

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Lorenzo di Pietro detto il Vecchietta (Siena 1410 – 1480), San Bernardino da Siena, 1460-1464. Legno intagliato e dipinto, Firenze, Museo nazionale del Bargello.

Just' Maddalena ', by virtue of that performed by Donatello (Museo dell'Opera del Duomo, Florence), formed a favorite theme by sculptors, as attested in the attractive displays of Desiderio da Settignano Magdalene of the Holy Trinity church, completed by Giovanni d' Andrea, a pupil of Verrocchio, and that of Francesco da Sangallo the diocesan Museum of Santo Stefano al Ponte. Just the Maddalena Santa Trinita is an example of that polimaterismo that adopted by Donatello for its Madeleine, was later recovered, in its technical - expressive values, by Pollaiuolo and Verrocchio: the statue, mentioned by Vasari as "beautiful as say you can ", is not in fact carried out exclusively in wood, as obtained from a willow trunk, but with the back of cork and plaster molded hair. 

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Scultore prossimo a Donatello, Crocifisso. Legno intagliato e dipinto, cm 180 x 160, Firenze, oratorio di San Sebastiano, detto dei Bini.

The exhibition also shows how the last quarter of the fifteenth century some great workshops run family, stressed by the demands of the art market, they were specialized in making crucifixes and not just for churches, but also for the private devotion and convent. This production was predominant among the members of the highest Florentine woodcraft tradition: the brothers Giuliano and Benedetto da Maiano, the Sangallo - Giuliano, Antonio and Francesco the Elder - the Del Tasso - Francesco and Leonardo - and Baccio da Montelupo.On display is especially notable for the quality of the SS Crucifix. Annunziata in Florence by Giuliano da Sangallo, one of the Museum of San Gimignano by Benedetto da Maiano painted by artist Cosimo Rosselli and the copy of the Convent of San Marco Baccio da Montelupo, once belonged to Savonarola.

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Michelozzo (Firenze 1396 – 1472), Crocifisso, 1435 circa. Legno intagliato e dipinto, cm 192 x 180, Firenze, chiesa di San Niccolò Oltrarno.

The Doni Tondo, which is part of the circuit of the exhibition, is one of the most famous episodes of collaboration between artist, Michelangelo, and an exponent of the highest Florentine woodcraft tradition, Francesco del Tasso, who carried out the frame with grotesque, racemes imaginative and human busts, almost certainly a design by Michelangelo. 

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Andrea Guardi (Firenze 1405 circa – Pisa 1476), Santa Margherita d’Antiochia, 1465 circa. Legno intagliato e dipinto, Pisa, Museo nazionale di San Matteo.

Another opportunity for close collaboration between painters and sculptors sprang from the realization of mixed polyptychs: large altar with a central wooden statue and side panels painted. The scenic beauty of these compositions, which stood out in the liturgical space, is attested on display from Sant'Antonio Abate (National Museum of Villa Guinigi, Lucca), the central part of the dismembered altarpiece Bernardi and by Benedetto da Majano, originally flanked by two tables Filippino Lippi depicting each two Saints (now the Norton Simon Museum in Pasadena) and the Tabernacle of Saint Sebastian (Sant'Ambrogio, Florence) carved by Leonardo del Tasso and painted by Filippino Lippi. 

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Andrea Cavalcanti detto il Buggiano (Borgo a Buggiano, Pistoia 1412 – Firenze 1462), Maddalena orante, 1440 circa. Legno intagliato e dorato, Pescia (Pistoia), oratorio della chiesa di Santa Maria Maddalena.

In this tale of painted wood sculpture it gives account of 'foreign presence' in Florence. In 1457 is documented in the city the mysterious sculptor Giovanni Teutonic, an itinerant artist - author of some jobs in the city including the Crucifix, on display, the Sant'Jacopo Soprarno church - that the vehicle experiences across the Alps in Italy, in sign of a face in a raw naturalism, theatrical, expressive rendering of the human drama, other than Donatello, however, inspired by a truthful, shared humanity. 

Present also shows the San Rocco of the Annunciation by Veit Stoss, another noted sculptor d 'beyond the Alps, which was hailed by Vasari as "wooden miracle (...) without any color blanket." In classical thought sixteenth, the wooden sculpture was in fact called upon to present the material and not cover it with the colorfulness.

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Desiderio da Settignano (Settignano, Firenze 1430 circa – Firenze 1464), Giovanni d’Andrea (documentato a Firenze a partire dal 1469, morto prima dell’ottobre 1499), Maddalena penitente, 1458-1459, ante 1499. Legno intagliato e dipinto, stucco, sughero, Firenze, basilica di Santa Trinita.

With this exhibition, "Thanks to new studies or because of incidental findings, wonderful statues are freed from centuries of segregation in the dark chapels, others are of new clothes after careful restoration, others are a more appropriate attribution placement. It turns out that the Tuscan sculpture was much more cosmopolitan than you think: was absorbing the best innovations from across the Alps and Iberian, borrowed the decorations French goldsmith.In the exhibition, as in the accompanying catalog, the works can talk again in a living reality: and it seems almost to feel, to half a millennium later, the subbie noises of chisels, pestles in mortars, the voices of the boys who bring chalk bags, grind the pigments, bring into order the shop, they feel in the background of the masters orders - all feverish, wonderful, hard-working, creative existence of the Renaissance workshops. " (Eike D. Schmidt).

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Donatello (Firenze 1386 circa – 1466), San Pietro martire, 1440-1450 circa. Legno intagliato e dipinto, Fabriano (Ancona), chiesa di San Domenico.

The exhibition curated, as the catalog published by Giunti, Alfredo Bellandi, is promoted by the Ministry of goods and cultural activities and tourism with the Uffizi Gallery, the Gallery of the Statues and paintings of the Uffizi and Florence Museums. 

The fifteenth century painted wooden sculpture in FlorenceFlorence, Uffizi Gallery. March 22 to August 28 2016

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Francesco da Sangallo (Firenze 1494 – 1576), San Giovanni battista, 1515-1520 circa. Legno intagliato e dipinto, Bivigliano (Firenze), pieve di San Romolo.