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The role of Pisanello(Antonio Pisano) in development of the Renaissance portrait medals is particularly important as he led the creation of this commemorative object almost single-handedly. He introduced the conventional format of the Renaissance portrait medal to the quattrocento italian courts, of which the obverse displays a profile portrait of a sitter and inscription of his official title. However, the design and contents of the reverse of the medals underwent significant changes through his career.
His early works including the medal of John Ⅷ Palaeologus show realistic scenic illustrations where the signature “OPVS PISANI PICTORIS” takes a important portion. But his later works convey humanist inventions and symbolic images, and the inscription of the reverse includes a phrase indicating the sitter. Such inventions in the text and image of the reverse have remained valid in the making of medals to sixteenth and seventeenth centuries, Also the combination of the implicative phrase and allegorical image of the sitter which Pisanello introduced later in reverse of the medals constituted the format of personal imresa, which became popular in the cinquecento Italian Renaissance.
There are two cases which illustrate Pisanello’s interest in humanistic allegory and classical iconography: the Leonello d’Este marriage medal in 1444 and the portrait medal of Alfonso V d’Aragon in 1449. The complexity of personal and public symbolism in these works stands as a culmination of his medal making career, which can only be understood in the political context of that time. Also the stylistic feature of these later medals where the illustrative and detailed depiction gave way to monumental feature of the scenery illustrates that Pisanello completely diverged from the influence of Gentile da Fabriano and entered into the later phase of the Renaissance Art.
Pisanello’s achievement is that he fulfilled the specific requirements of humanist court culture by means of ancient object. He revived Imperial portraits and allegorical images of ancient coins and coin-like objects in order to praise the virtue and fame of quattrocento italian princes and rulers. The most significant feature of Pisanello’s images different from that of the ancient coins is that they were derived from the particular tastes and aspiration of the sitter. At the same time, they became subheraldic personal devices which were closely connected to the contemporary political matters.
One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage to Maria d’Aragon. A small putto holding a musical manuscript in front of a lion, which is a visualization of the idea that the marriage between the Este family and the Aragon family would provide Leonello love and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lente impresa), and the three-faced putto images frequently found in the reverse of the Leonello medals are the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. In comparison to the Leonello marriage medal, the large medal of Alfonso d’Aragon in 1449 emphasizes the public image of king Alfonso as “Triumphator et Pacificus” as well as a provider of Liberalitas(generosity). Especially the majestic eagle surrounded by several smaller predators, giving them its prey is an allusion of Alfonso who was willing to dispense benefits to the neighboring countries.
Pisanello employed metaphorical images implicated with the sitter’s features and humanist allegory, and at the same time conveyed political messages with these personal images. His medals provided a prototype of later portrait medals in Italy and northern european world, and became a catalysis of the establishment of the conventional format of impresa in combination of anima(motto) and corpus(image).
His early works including the medal of John Ⅷ Palaeologus show realistic scenic illustrations where the signature “OPVS PISANI PICTORIS” takes a important portion. But his later works convey humanist inventions and symbolic images, and the inscription of the reverse includes a phrase indicating the sitter. Such inventions in the text and image of the reverse have remained valid in the making of medals to sixteenth and seventeenth centuries, Also the combination of the implicative phrase and allegorical image of the sitter which Pisanello introduced later in reverse of the medals constituted the format of personal imresa, which became popular in the cinquecento Italian Renaissance.
There are two cases which illustrate Pisanello’s interest in humanistic allegory and classical iconography: the Leonello d’Este marriage medal in 1444 and the portrait medal of Alfonso V d’Aragon in 1449. The complexity of personal and public symbolism in these works stands as a culmination of his medal making career, which can only be understood in the political context of that time. Also the stylistic feature of these later medals where the illustrative and detailed depiction gave way to monumental feature of the scenery illustrates that Pisanello completely diverged from the influence of Gentile da Fabriano and entered into the later phase of the Renaissance Art.
Pisanello’s achievement is that he fulfilled the specific requirements of humanist court culture by means of ancient object. He revived Imperial portraits and allegorical images of ancient coins and coin-like objects in order to praise the virtue and fame of quattrocento italian princes and rulers. The most significant feature of Pisanello’s images different from that of the ancient coins is that they were derived from the particular tastes and aspiration of the sitter. At the same time, they became subheraldic personal devices which were closely connected to the contemporary political matters.
One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage to Maria d’Aragon. A small putto holding a musical manuscript in front of a lion, which is a visualization of the idea that the marriage between the Este family and the Aragon family would provide Leonello love and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lente impresa), and the three-faced putto images frequently found in the reverse of the Leonello medals are the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. In comparison to the Leonello marriage medal, the large medal of Alfonso d’Aragon in 1449 emphasizes the public image of king Alfonso as “Triumphator et Pacificus” as well as a provider of Liberalitas(generosity). Especially the majestic eagle surrounded by several smaller predators, giving them its prey is an allusion of Alfonso who was willing to dispense benefits to the neighboring countries.
Pisanello employed metaphorical images implicated with the sitter’s features and humanist allegory, and at the same time conveyed political messages with these personal images. His medals provided a prototype of later portrait medals in Italy and northern european world, and became a catalysis of the establishment of the conventional format of impresa in combination of anima(motto) and corpus(image).
목차
Ⅰ. 서론
Ⅱ. 피사넬로와 레오넬로 데스테
Ⅲ. 알폰소의 초상 메달과 후기의 알레고리적 도상들
Ⅳ. OPVS PISANI PICTORIS
〈주요 메달 목록〉
참고문헌
Abstract
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