Paolo Uccello was a pioneer of the Florentine Renaissance perspective whose style uniquely combined Renaissance structure with decorative Gothic roots. He was taught the rhythmic International Gothic style in the workshop of Lorenzo Ghiberti. He later became a master mosaicist in Venice, an experience that would inform the bright, decorative palette of his mature masterpieces. His work was very much influenced by the rich naturalism of Gentile da Fabriano and the empirical, animal- and nature-oriented drawings of North Italian art. This is the central panel of a 1438 triptych, now split between the Uffizi, London's National Gallery and the Louvre. It commemorates Florence's victory over Siena in 1432. It was painted originally for the rich Bartolini family and was in the inventory of Lorenzo de' Medici by 1492. The panel was a political commission designed to legitimize Medici rule. Painted in the 1450s for the Medici Palace , the artwork glorifies commander Niccolò da Tolentino , aligning with historical accounts that framed him as a brilliant strategist embodying classical virtue. Politically, Tolentino was a close friend and military ally of Cosimo de' Medici. He even marched his troops to Florence to attempt a rescue when Cosimo was arrested by his rival, Rinaldo degli Albizzi. After Tolentino died in enemy captivity , the restored Medici regime brought his body back for a grand state burial , framing him as a Medicean martyr. By prominently featuring Tolentino, the Medici family used Uccello's masterpiece to claim a patriotic victory as their own. The masterpiece is renowned for its bold and experimental perspective. The Uffizi panel depicts the unhorsing of the Sienese commander Bernardino della Ciarda. It’s busy, but the atmosphere is dreamlike, knights like carousel mannequins; Uccello stresses geometric perspective over human feeling. The work is, finally, a coming together of two ages: it celebrates the Renaissance revolution of perspective, but the background hunting scenes, detailed armor, and fairy-tale Late Gothic courtliness remain.
Paolo Uccello's Battle of San Romano is so much more than an depiction of a battle fought and won. He dramatises confusion, action and man's desire to excel within a meticulously organised battle scene, strewn with corpses, charging horses and shattered lances. He has managed to present a scene that looks at once completely chaotic, yet surprisingly ordered, theatrical even. Uccello seems more intent in experimenting with geometry and perspective through use of the spears and bodies to bring a sense of order.
As far as I am concerned, the painting is also reflective of the humanistic ideals of the Renaissance whereby Art and mathematics combined to illustrate a story. This battle perhaps illustrates man's obsession with fame and power; but the slain men and spent horses cannot fail but portray a dark side. By placing beauty and war together in such a graphic fashion, I think Uccello has ensured that battles, or victory within war cannot entirely be seen as heroism.
