sculpture

Back to Renaissance - Lesson #2

Our lessons from Renaissance continue this week with another extract of the beautiful research made by Eric Weiner to prove that “Renaissance Florence Was a Better Model for Innovation than Silicon Valley Is” …

In-fact, not many people acknowledge that… MENTORS MATTER

“In today’s culture, we tend to value youth over experience and have little patience for old-fashioned learning models. Ambitious young entrepreneurs want to tear down the corner office, not take lessons from the people in it. However, the experience of innovators in Renaissance Florence suggests this is a mistake. Some of the greatest names in art and literature willingly paid their dues, studying their craft at the feet of the masters. Leonardo da Vinci spent a full decade — considerably longer than was customary — apprenticing at a Florentine bottega, or workshop, run by a man named Andrea del Verrocchio. A good artist but a better businessman, Verrocchio surely spotted the burgeoning genius in the young artist from an “illegitimate” family, but he nonetheless insisted Leonardo start on the bottom rung like everyone else, sweeping floors and cleaning chicken cages. (The eggs were used to make tempera paint before the advent of oil.) Gradually, Verrocchio gave his charge greater responsibility, even permitting him to paint portions of his own artwork. Why did Leonardo stay an apprentice for so long? He could easily have found work elsewhere, but he clearly valued the experience he acquired in the dusty, chaotic workshop. Too often, modern-day mentoring programs, public or private, are lip service. They must instead, as during Leonardo’s time, entail meaningful, long-term relationships between mentors and their mentees”
This Summer travel backwards in Renaissance

Lessons from Renaissance #1

Do you know why Pope Julius II assigned the impossible task to paint the ceiling of the Sistine Chapel to a young artist at that time much more experienced and known as a sculptor rather than as a painter, such as Michelangelo?

His painting experience was limited to small pieces, and little in the way of frescoes, and more than this not on extended ceilings like the one of the Sistine Chapel, which required a type of scaffolding radically different from any other used before...this slowed down the start of the works that took 4 years to be completed ...the Pope clearly believed in this case that potential could trump experience.

Michelangelo indeed recurred to his skills and taste as a sculptor and architect in painting the now-iconic frescoes of the Sistine, that still nowadays stand out for their monumental classic beauty that imitate sculptural forms of the Ancient Rome


Keep reading Eric Weiner’s article at Harvard Business Review 

This Summer travel backwards in Renaissance