Sigismondo Malatesta, as Captain General of the Roman Church 1445

Editor: This artwork is a bronze medal, “Sigismondo Malatesta, as Captain General of the Roman Church,” created in 1445 by Pisanello. It's currently housed at the Metropolitan Museum of Art. It's striking how this relatively simple material—bronze—is used to immortalize such an important figure. What stands out to you about this piece? Curator: What I find particularly interesting about Pisanello's medals is how they democratize portraiture. Bronze casting, while requiring skilled labor and material resources, allowed for multiple reproductions. So, rather than a unique painting for the elite, you have a more widespread dissemination of the image of power. Editor: That's a good point. So, the very *process* of creating these objects made the image more accessible? Curator: Precisely. Think about the mold-making, the smelting, the finishing work—all these stages of production represent a departure from unique artistic creations towards something closer to early industrial techniques. This challenges our perception of Renaissance art as solely focused on unique, divinely inspired creations. It highlights labor. Editor: I never really thought about bronze casting as connected to labor and accessibility. I always focused on the aesthetic value, I see this artwork in black and white; does that mean it's grayscale? Curator: Often images online, especially older works, appear as grayscale due to the photography and display limitations. Original bronze would possess a warm, metallic hue, significantly influencing its perception and value, and how it interacted with light. Editor: So considering its material production provides a really interesting socio-economic viewpoint on art during the Renaissance, thanks! Curator: Exactly. Considering the means by which this image was circulated gives us insights into the evolving relationship between art, power, and the burgeoning marketplace of the time. It changes the context!