By Bart Verschaffel
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Additional resources for Architecture Is (as) a Gesture
26) seems to represent a classical Roman statue in a niche, with the swag of fruit, in ancient fashion, depicted overhead, and the inscription delineated in an accurate all’antica manner. The lion plays with the arm of the saint, his action helping to alleviate the severity of the spare Doric setting and the stoic reticence of Euphemia. This humanism can also be seen in his early, and justifiably famous, Saint Sebastian (Fig. 24). Sebastian was a Roman army officer of the third century who secretly became a Christian.
In a perhaps unexpected turn of events, the young Paduan painter came closer than any other Italian painter to fulfilling the goals of the period as set out by a chief theoretician, Leon Battista Alberti who stressed, in his widely read and admired treatise On Painting of 1435, art should show figures who are alive down to their very fingernails, and painting should tell stories vividly and with an economy of means, representing in a memorable and accurate way human gestures, emotions, and attitudes.
In 1448, one pupil wanted to study with Pizzolo with the intent of learning to “pingere in recente”, to paint in the modern style, an indication it was well known that Pizzolo was practicing the very latest and most exciting style. It is easy to imagine the intensity of the emotional atmosphere as two brilliant artists, Pizzolo and Mantegna, worked in the same small chapel, fighting for space and for the accolades of the public. This competition must have increased the inclination of both men to achieve the newest and most striking effects possible in their art.
Architecture Is (as) a Gesture by Bart Verschaffel