Donatello as the most important sculptor of the Early Renaissance Essay Example For Students

Donatello as the most important sculptor of the Early Renaissance Essay Donatello is known as the most important sculptor of the Early Renaissance. The author, John Pope-Hennessy noted him as one of the greatest artists who ever lived Pope-Hennessy p. 11. Donatello was a modest person who was very dedicated to his works. Because of his great dedication, he was able to create so much art in so many different varieties Poeschke p. 5. Donatellos origins, his accomplishments, and his impact are important aspects to appreciate the sculptor, Donatello. Donatello was born on 1386 in Florence, Italy by the name Donato di Niccolo di Betto Bardi. ibrary p. 1. His father, Niccolo di Betto Bardi, was a wool comber. It is thought that he learned his career from one of the stone sculptors for the Cathedral of Florence around 1400 britannica p. 3. He assisted Filippo Brunelleschi, with whom he may have visited Rome and studied monuments of antiquity there Blood p. 1. Donatello started sculpting at the age of twenty. Donatello created masterpieces with stone, clay, bronze, or gold Poeschke p. 376. He is said to have worked in Lorenzo Ghibertis shop and also had a shop of his own in Florence. Later in life he studied Roman Ruins and became a humanist. Donatello died on December 13, 1466 at the age of eighty. He never married and had no children Blood p. 1. Donatellos works can be separated into three periods. The first period is comprised of works done before the year 1425. During the first period, Donatello was greatly influenced by the Gothic style, yet classical and realistic influences were also Hoell 2 present. During this time Donatello identified himself as a realist. Most of his weeks of this period were spent in Florence Blood p. 2. One of the works completed during the first period is the marble David was one of Donatellos earliest works, which was completed around 1412 britannica p. 2. On February 20, 1408, Donatello was commissioned to make one of the buttresses, which were going to be placed on the choir of the Duomo in Florence. A total of twelve buttresses were supposed to be made by several different sculptors but the task was never completed. When Donatello finally completed his work, it was criticized of being too small to be placed in its location, which was eighteen meters high. The David ended up in the Duomo workshops for a few years. Then, in July 1416, it was moved to the Palazzo Vecchio. Donatello was then paid five extra florins to make some alterations to the statue. This may be when the very intricate details were added to Goliaths face and hair. He may have also added details to the clothing, such as seams, folds and fringes, during this time. Because of this, Donatello was noted of putting much more importance into the details of the sculpture more than any sculptor of this time puts Poeschke p. 27, 377. A while later the Prophet David was given a place of honor in the city hall to represent political freedom. Donatellos David was chosen for this place. Ghilberti, the leader in International Gothic Style, influenced this sculpture. International Gothic Style consisted of soft curves, which the David processed. The construction of the drapery also had a Gothic look. This work was made for the Cathedral but was later moved to Palazzo Vecchio in 1416. There, the David symbolized civic patriotism. It was later shadowed Hoell 3 by the huge Michelangelo version of David britannica p. 2. The David can be seen on page nine and is image one. Another work done during the first period is St. George. It was one of Donatellos most powerful works. It had demonstrated personality and confidence, which has not been seen since the classical antiquity britannica p. 2. St. George is image four on page ten. There appears to be holes made into the marble. These holes are thought to have held a wreath or bronze helmet on the head. The right hand was carved to hold a sword of lance made of bronze. The statue was completed on 1415 and the tabernacle niche in which is placed was completed around 1417 Pope-Hennessy p. 63, 64. It is unsure if Donatello had anything to do with designing the tabernacle in which St. George was but in, but it is certain he did the gable relief which is image two on page ten. The gable relief is the Christ figure holding a book and looking down on the saint. Donatello also did the St. George slaying the Dragon relief at the bottom of the tabernacle. This relief is an example of schacciato Poeschke p. 381. This relief can be seen on page ten, image three. The second period is comprised of the years between 1425-1443. Works influenced by antiquity can identify this period. During the years 1425-1435, Donatello worked with the Florentine sculptor ,Brunelleschi, and Michelozzo. Harlem Renaissance flashcardOn the upper part there are two reliefs, image eight on page thirteen. On one side here are two angels pointing to a coat of arms of the deceased. On the other side there are two angels displaying battle armor. The original reliefs were replaced with copies in 1854 and are now located in the Santo Museum. Below the Two reliefs there are doors, which symbolize doors to Hades. This gives the monument a sense of a tomb Pope-Hennessy p. 398. The height of the pedestal alone is twenty-five and a half feet, which is twice as high as the statue it holds Poeschke p. 209. Donatello created an idealized portrait of Gattamelata and his horse to reveal the mans nobility. He used the concept of antiquity as he noted in the statue of Marcus Aurelius during his visit to Rome, image nine one page fourteen britannica 6. In comparison, The Emperors posture is more passive. The Gattamelata has a more controlling posture over his horse, image ten on page fourteen. The Emperor has not front view. Both the horse and the Emperor have their heads turned toward the right. Donatellos Gattamelata has front, rear, and side views Poeschke p. 204. The sculpture is set up in front of the Hoell 7 Basilica del Santo and can be seen from every direction because of its height. This work was known to be the best-proportioned sculpture ever library p. 1. The Mary Magdalene was also completed during the third period. The decay and distortion of the body produces an emotion towards the view. By clothing her in her own hair only adds to the emotion brittanica p. 7. This particular piece was not mentioned in any recorded history until the 1500s. Because of this, its original location is uncertain Poeschke p. 402. This work was damaged in 1966 due to a flood in Florence. During the restoration, the original painted fleshy tones and gold highlights in the hair was discovered under all the soot and years of abandonment britannica p. 4. Image eleven on page fifteen is how the statue looked before restoration and image twelve on page fifteen is how it looked after restoration. After reparation to the statue is was placed in the Museo dellOpera del Duomo in Florence, Italy. The image of Mary Magdalene that Donatello created influenced many other portrayals of Magdalene such as the Magdalene in the Collegiata in Ampoli, Italy Poeschke p. 403. Donatello had a great impact on the development of realism in Italian painting, especially the Paduan artist, Andrea Mantegnon. He also had many pupils, notably Desiderio da Settignano Blood p. 3. His ability to work alone made him the chief and pioneer of Italian art Kos p. 3. Donatello is said to be the found of modern scuplpture. He was the first to make a sculpture made of bronze, which influenced other sculptors to be creative and use other materials. His technique of sculpting is still used today library p. 1. Donatellos presence in Padua influenced the making of a school of bronze sculptors and workers. His reliefs in Padua influenced painters and sculptors of northern Hoell 8 Italy. His statue, Gatamelata, influenced Andrea del Verrocchios work, the equestrian Bartolomeo Colleani britanica p. 9. He especially influenced the Paduan artist Andrea Mantagna. Because of Donatello, the art of sculpture was born again in Florence. He was very good at making his figures express emotion artchive p. 2, 4. Donatellos works serve as the measure and example for all sculptures of the Early Renaissance. Even painters studied his works closely until the time of Raphael Poeschke p. 17. Donatello was a simple man in everything but his works of art. During three periods the artist can be seen through his work evolving according to the influences around him. From a very young age, Donatello was instructed by great minds in his field. Sculpture was an art form that Donatello took up from the age of twenty. Throughout his life he executed this talent impressively. His creations impacted many artists that followed. Many of his sculptures served as models for other sculptures that were created. During his time, he was known as a sculptor who slightly deviated from the norm of his time and did more than what was expected of a sculptor. His sculptures still exist to impact those to come.