Opera magazine
2024-11-12
6 self-portraits of artists in the monuments of the Florence Cathedral
The Faces of the Masters in Their Masterpieces
Did you know that in our monumental complex there are several self-portraits of artists, some of the most important in the history of art?
“Ars longa vita brevis” ("Life is short, art is long") the ancients used to say…
The self-portrait is the means by which the artist intends to define their own image, not only on a physical level but also on a metaphysical dimension, reflecting their spirit and emotions. In this visual expression, the artist can present himself as a humble craftsman, a famous master, a distinguished citizen, or even as an afflicted being or tormented soul. Today, we speak of self-representation, exploring the ways in which the artists who worked in the monumental complex of the Opera di Santa Maria del Fiore chose to depict themselves.
Lorenzo Ghiberti, the great creator of two of the three doors of the Baptistery of San Giovanni, portrays himself in the first door, that is, the 'North' door (1403-1424), as a craftsman, wearing a turban similar to those worn by the masters of the 15th century.
In the second door, the 'East' door, better known as the 'Gates of Paradise' (1425-1452), he appears as an illustrious citizen, more noble and philosophical, emphasizing a high social and artistic status.
In the marble choir of the Duomo (1547-1572), the sculptor Baccio Bandinelli portrays himself in profile, in the fashion of the time, with a long beard, like an ancient philosopher. However, here the artist concealed his self-portrait, more as a votive offering than a signature, at the base of the sculptural group of God the Father blessing and the Deposed Christ. The portrait was, in fact, accidentally discovered only in the 19th century! The sculpted features in this marble correspond to those of the self-portrait, now at the Isabella Stewart Gardner Museum in Boston, which the artist painted between 1545 and 1550. However, in this example, the artist presents himself in a more natural way, less idealized than what we see in the marble.
Federico Zuccari also self-celebrates his mastery in the paintings of the dome (1572-1579). Among the representatives of the people of God, he portrays himself as a court painter, along with friends and family, proud and displaying his palette, while relegating the initiator of the project, Giorgio Vasari, who had passed away in 1574, to the background.
In the Pietà Bandini (around 1547-1555), Michelangelo Buonarroti, now elderly, subtly inserts himself into the scene by incorporating his features into the face of Nicodemus, a character from the New Testament who questions Jesus about the mystery of the resurrection of the body. It is no coincidence that this work was conceived by the artist for his own funerary monument.
Finally, we focus on Giuseppe Cassioli, the son of the more famous Amos, who, in the bronze door for the cathedral facade, seems to overturn Ghiberti's idea for the Baptistery doors. Cassioli presents himself as a tormented artist, with a serpent around his neck, anguished by debts and the difficulties arising from the execution of the door.
