Face to Face with Emperor Ioannis VIII Palaiologos

by 15th century Italian Renaissance ArtArtPowerpointsRenaissance
Pisanello’s Medallion of Ioannis VIII Palaiologos, a loan from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, as exhibited in the Hôtel de la Marine, in Paris, France, My amateurish attempt at photography…

A page of Pisanello’s sketchbook in the Louvre Museum presents the mounted figure of the Byzantine Emperor Ioannis VIII Palaiologos and the short descriptive passage reads… The hat of the Emperor should be white on top and red underneath, the profile red all round. The doublet is green damask and the mantle on top crimson. A black beard on a pale face, hair and eyebrows alike. The eyes between grey and green, and the stooped shoulders of a small person. The boots of pale yellow leather; the sheath of the bow brown and grained, and also that of the quiver and of the scimitar. On the 5th of March, while in Paris, I visited the Hôtel de la Marine, and I came Face to Face with Emperor Ioannis VIII Palaiologos. Pisanello’s famous Medallion of the penultimate Byzantine Emperor was among the selected artifacts presented at the Exhibition Ca’ d’Oro, Masterpieces of the Renaissance in Venice (November 30, 2022 – May 7, 2023). I was touched… Some Preparatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (Sep. 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Pisanello’s Medallion and two pages with preparatory drawings and comments, by Pisanello as well, one in the Louvre, the other in the Art Institute of Chicago, are vital in reconstructing the features and the physique of the Emperor. The Medallion I saw in Paris, like the rest of the exhibited artworks, loans from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, was an opportunity to read and refresh my knowledge of Ioannis VIII Palaionogos… his ‘works and days.’ https://www.thealthanicollection.com/hdlm/ca-doro-masterpieces-of-the-renaissance-in-venice

Ioannis VIII Palaiologos (or John VIII Palaiologos) was a Byzantine Emperor who ruled from 1425 to 1448. He was born on December 18, 1392, as the oldest son of Emperor Manuel II Palaiologos and Helena Dragaš. He was an intellectual, well-educated, and a patron of arts and learning. He was fluent in several languages, including Greek, Latin, and some Turkish. His reign was marked by a series of desperate attempts to save the Byzantine Empire from its rapid decline, particularly due to the increasing pressure from the Ottoman Empire.

In an effort to save his empire, he sought the aid of the West by advocating for a union of the Eastern Orthodox Church and the Roman Catholic Church. This led him to attend the Council of Ferrara/Florence (1438-1439), where he personally negotiated with Western leaders and agreed to a theological compromise that would allow for the churches to reunite. However, this decision was met with strong opposition from many within the Byzantine Empire, particularly the clergy and the people who saw the reunion as a betrayal of their Orthodox faith. Ultimately, the church union failed to secure the military and financial assistance Ioannis had hoped for, and the empire’s decline, continued, with a loss of territory and influence. Ioannis VIII Palaiologos died on October 31, 1448. Five years later, the Byzantine Empire ceased to exist. It was the 29th of May, 1453.

The Medallion of John VIII Palaiologos is a bronze portrait medal created by the renowned Italian artist Pisanello in 1438. This medallion, an outstanding example of Renaissance art, is considered one of the earliest examples of portrait medals in the history of art and stands as a testament to the diplomatic, cultural, and artistic exchanges that occurred during this tumultuous period in history. The medal is not only significant for its portrayal of the Byzantine Emperor but also for its role in the development of the art of medal-making in Europe.

Pisanello, c. 1395 – 1455
Medal with John VIII Palaeologus (Ioánnis VIII), Emperor of Constantinople, 1438, National Gallery of Art, Washington, DC, USA
https://www.nga.gov/collection/artist-info.2228.html#works

Looking at Pisanello’s portrait of the Emperor, I wonder how John VIII Palaiologos felt during his trip to Italy. I am sure he hoped that by engaging in negotiations and pushing for the reunification of the Eastern Orthodox and Roman Catholic Churches, he could secure much-needed assistance from Western Europe. At the same time, he was also likely to have felt anxiety and pressure. The theological differences between the two churches were deeply rooted, and reaching a compromise would be a delicate and complex process. Furthermore, the Byzantine Emperor had to navigate diplomatic and protocol arrangements that were probably, at times, difficult and offensive, to put it politely.

Pisanello keeps his distance from the political intrigues and nuances. On the obverse side, the Emperor is depicted, in profile, dignified, imposing, and elegantly groomed. The artist displays individualized facial features, such as his well-groomed beard, high forehead, and strong nose. These details suggest an attempt to capture the likeness of the Emperor, rather than relying on stylized or idealized forms that were common in earlier periods. The clothing and adornments the Emperor wears, like his characteristic hat, reflect the luxurious aspects of Byzantine culture and provide a sense of authenticity to his portrayal. Around the perimeter of the obverse side, an inscription, in Greek, identifies the Emperor by name and title.

The reverse side of Pisanello’s Medallion, ‘signed’ by the artist in Latin and Greek, shows something entirely different. The Emperor, identified by his characteristic hat, is depicted astride his famous Eastern European horse, groomed for hunting. He is probably presented in the area of his residence, a convent outside Ferrara, where he indulged in his passion for the chase during the autumn of 1438. Was the Emperor depicted enjoying ‘personal time’ of relaxation, away from tension and stress? I wish he did…

For a PowerPoint inspired by Face to Face with Emperor Ioannis VIII Palaiologos, please… Check HERE!

For Face to Face with Emperor Ioannis VIII Palaiologos and Pisanello’s Medallion, please Check…

Some Prepatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (September 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Some Notes on Pisanello and the Council of Florence, by James A. Fasanelli, Master Drawings, Vol. 3, No. 1 (Spring, 1965), pp. 36-47+84-93 (22 pages) https://www.jstor.org/stable/1552781?read-now=1&seq=10#page_scan_tab_contents

The Emperor John VIII Slept Here… by Kenneth M. Setton, Speculum, Vol. 33, No. 2 (April 1958), pp. 222-228 (8 pages) https://www.jstor.org/stable/2850780?read-now=1&seq=8#page_scan_tab_contents

Donatello’s Pazzi Madonna

by 15th century Italian Renaissance ArtArtExhibitionsItalian Renaissance ArtPowerpointsRenaissance
Donato di Niccolò di Betto Bardi (Donatello), ca. 1386-1466
Madonna and Child (the Pazzi Madonna), 1420-25, Marble, 74,5 x 73 x 6,5 cm, Staatlichen Museen zu Berlin
https://www.theartnewspaper.com/2021/11/30/first-major-donatello-exhibition-in-nearly-40-years-to-open-in-florence

…Donatello was so admirable in knowledge, in judgment, and in the practice of his art that he may be said to have been the first to illustrate the art of sculpture among the moderns; and he deserves the more commendation because in his time few antiquities had been uncovered. He was one of those who aroused in Cosimo de’ Medici the desire to bring antiquities into Florence. He was most liberal and courteous, and kinder to his friends than himself; nor did he care for money, keeping it in a basket hanging from the ceiling, where his workmen and friends could help themselves without saying anything to him. When he got old, therefore, and could not work, he was supported by Cosimo and his friends. Cosimo dying, recommended him to Piero his son, who, to carry out his father’s wishes, gave him… enough… Giorgio Vasari writes back in 16th century Florence, to pass the rest of his life as friend and servant of the Medici without trouble or care.  Please allow me to present Donatello’s Pazzi Madonna of c. 1420, as an introduction to Donatello, The Renaissance Exhibition, currently at the Fondazione Palazzo Strozzi and the Musei del Bargello in Florence, Italy (March 19-July31). http://www.artist-biography.info/artist/donatello/ and https://www.palazzostrozzi.org/en/archivio/exhibitions/donatello/

Celebrated as one of the greatest Renaissance artists, Donatello’s Pazzi Madonna, depicts both mother and child with their faces turned towards one another and away from viewers, says Francesco Caglioti, curator of the Donatello, The Renaissance Exhibition. Their foreheads are touching, and they share a profoundly intimate moment which every mother has experienced, he continues. It is a profoundly intimate, emotional, and thus, a powerful work of art, proving Donatello to be an exceptionally talented artist in translating nature into art. https://www.theartnewspaper.com/2021/11/30/first-major-donatello-exhibition-in-nearly-40-years-to-open-in-florence

The Pazzi Madonna in the Berlin Staatlichen Museum is believed to originate from the Palazzo Pazzi in Florence, where according to a 1677 Florentine Guide Book, the sculpture could be seen in the Palazzo Garden. Although this identification is challenged, it is worth reading the Renaissance text… In the house of Francesco Pazzi there is a beautiful marble Madonna in low relief by Donatello; the Christ Child, seated upon a cushion, is supported by the Virgin’s right hand, while he, with his raised left hand, holds the veil that hangs from her head. It is charming in every part, the draperies are most beautiful, and the Virgin’s tenderness toward her son is expressed with great art and is such, that in the following succession, Alessandro, the father of Francesco, bought it for 500 scudi according to the valuation that was made. http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&lang=en

Donato di Niccolò di Betto Bardi (Donatello), ca. 1386-1466
Madonna and Child (the Pazzi Madonna) (detail-faces), 1420-25, Marble, 74,5 x 73 x 6,5 cm, Staatlichen Museen zu Berlin
https://www.palazzostrozzi.org/en/upcoming-exhibitions/
Donato di Niccolò di Betto Bardi (Donatello), ca. 1386-1466
Madonna and Child (the Pazzi Madonna) (detail-lower part), 1420-25, Marble, 74,5 x 73 x 6,5 cm, Staatlichen Museen zu Berlin
https://commons.wikimedia.org/wiki/File:Donatello_Bode_Madonna_Pazzi_05.jpg

Donatello’s Pazzi Madonna is greatly admired for its Renaissance “modernity.” The artist revived, for example, Antiquity by using and “playing” with monochrome, off-white coloured marble for his bas-relief, diverging from the popular tradition of using color in sculpture. He employed linear perspective to present spatial perception, a novel, introduced in 1415, “invention” by Filippo Brunelleschi. He used strong foreshortening to accentuate the best point of vision for the viewer. He created a tender, yet emotionally powerful, very “humanized” composition. The Pazzi Madonna is a Donatello masterpiece that still inspires and enchants viewers today.

Today, Francesco Caglioti, curator of the Donatello, The Renaissance Exhibition believes that Donatello is a colossal artist, more important than Giotto, Raphael or Caravaggio because those three revolutionized the traditions of their time. Donatello broke with tradition completely, taking inspiration from the art of antiquity and the Middle Ages and mixing all those elements with his own vision to create an entirely new language for art. Donatello, The Renaissance Exhibition is currently on view in Florence (March 19-July31), will be presented in the Berlin Gemäldegalerie (September2-January 8 2023), and in London at the Victoria and Albert Museum in 2023. This is a historic Exhibition hosting over 130 works from the world’s leading museums and collections set out to reconstruct the astonishing career of one of the most important and influential masters of Italian art of any age. https://www.theartnewspaper.com/2021/11/30/first-major-donatello-exhibition-in-nearly-40-years-to-open-in-florence

For a new PowerPoint on Donatello’s Masterpieces, please… Click HERE!

Teaching with Donatello is a set of student activities and worksheets inspired by the great Italian artist I much admire… Click… https://www.teachercurator.com/art/teaching-with-donatello/

The commemorative Donatello, The Renaissance Exhibition Book https://www.artbook.com/9791254630068.html