The sculptor Baccio Bandinelli 1548

Editor: Here we have Nicolò della Casa’s engraving, "The Sculptor Baccio Bandinelli," from 1548. It shows Bandinelli surrounded by his sculptures, almost overwhelmed by them. What social narratives do you think this image hints at? Curator: This portrait is a powerful statement about artistic identity in the Renaissance. Bandinelli, as portrayed here, isn't just a craftsman, but an intellectual and a creator of immense vision and ego, seemingly dwarfed by the very figures he brings into being. It’s interesting to consider this in light of class structures of the time. Do you see any way the image portrays anxieties around artists who were increasingly regarded for their individual genius and wealth? Editor: I see your point. The sheer number of figures does seem to be about elevating his importance as an artist and suggesting he has produced an incredible output, or maybe could still do so. The contrast with how humble artists had often been perceived. Curator: Exactly! Think about how, prior to the Renaissance, art was viewed as a collective enterprise rooted in the community; the role of the artist as a public servant and craftsman overshadowed their self-identity. Portraits like this sought to radically redefine the relationship between the artist and society. Notice his elevated pose and his direct gaze. Where do you see any of the potential impacts of such representations of an artist in this time? Editor: Maybe these portraits fueled debates about artistic freedom and responsibility that are still relevant today? Thanks, this gives me so much to consider. Curator: And consider also how these images participated in creating celebrity status for some artists in ways that echoed royal power and wealth.