Portrait medal of Vittorino Rambaldoni da Feltre (obverse); A Pelican (reverse) 1446 - 1447

Editor: Here we have Pisanello's bronze medal, "Portrait medal of Vittorino Rambaldoni da Feltre," made around 1446-1447. I find the material fascinating. It feels substantial and permanent. How can we view the work through its materials and making? Curator: It's key to consider the materiality. Bronze casting, a labor-intensive process involving skilled artisans and specific materials like the metal itself and the clay for the mold, elevates the subject, Vittorino. Pisanello, by choosing this method, linked his work to classical precedents while participating in the Renaissance humanist project. Notice the inscription; it literally frames the portrait, but also announces his accomplishments, his brand if you will. Editor: So, it’s not just a portrait, but also a statement about craftsmanship and the value placed on the individual within society. I hadn’t thought about that. What about the reverse with the pelican? Curator: Ah, yes! The pelican "in her piety", a symbol of self-sacrifice, referencing Christ's sacrifice, links Vittorino, the educator, to a nobel, even religious ideal. Think about where the bronze originated: from mines, smelters, workshops – tracing its geographical origins is key to unlocking connections between labor, trade and humanist philosophy of the era. Editor: So the medal becomes less about celebrating an individual and more about celebrating particular ways of thinking? Curator: Precisely. By understanding the process, the materials, and the symbolic choices, we expose layers of social context that a simple portrait would obscure. It reveals what the patron, the artist, and wider society valued and how they sought to embed these beliefs in lasting materials. Editor: I see now. The bronze itself becomes a vehicle for communicating Renaissance values. Thanks for opening my eyes. Curator: It’s been a pleasure. Now go forth and question the means of production!