Chronology Donatello Biography Donatello di Niccolo di Betto Bardi, better known as simply Donatello, is arguably one of the most influential sculptors from the Italian Renaissance. He was born in or in Florence, Italy. The exact date is unknown. Donatello's father was Niccolo di Betto Bardi.
See Article History Alternative Title: He never married and he seems to have been a man of simple tastes. Donatello seemingly demanded a measure of artistic freedom. Although he knew a number of humanists well, the artist was not a cultured intellectual.
His humanist friends attest that he was a connoisseur of ancient art. The inscriptions and signatures on his works are among the earliest examples of the revival of Classical Roman lettering.
He had a more detailed and wide-ranging knowledge of ancient sculpture than any other artist of his day. His work was inspired by ancient visual examples, which he often daringly transformed. Though he was traditionally viewed as essentially a realist, later research indicates he was much more.
It is not known how he began his career, but it seems likely that he learned stone carving from one of the sculptors working for the cathedral of Florence the Duomo about Sometime between and he became a member of the workshop of Lorenzo Ghibertia sculptor in bronze who in had won the competition for the doors of the Baptistery.
The David, originally intended for the cathedral, was moved in to the Palazzo Vecchio, the city hall, where it long stood as a civic-patriotic symbol, although from the 16th century on it was eclipsed by the gigantic David of Michelangelowhich served the same purpose. Still partly Gothic in style, other early works of Donatello are the impressive seated marble figure of St.
John the Evangelist —15 for the Florence cathedral facade and a wooden crucifix —08 in the church of Santa Croce. The latter, according to an unproved anecdotewas made in friendly competition with Filippo Brunelleschia sculptor and a noted architect.
David, sculpture by Donatello, early 15th century. George both completed c. George has been replaced by a copy; the original is now in the Museo Nazionale del Bargello.
Here, for the first time since Classical antiquity and in striking contrast to medieval art, the human body is rendered as a self-activating functional organism, and the human personality is shown with a confidence in its own worth.
In both the Zuccone and the Jeremiah —35their whole appearance, especially highly individual features inspired by ancient Roman portrait busts, suggests Classical orators of singular expressive force. The statues are so different from the traditional images of Old Testament prophets that by the end of the 15th century they could be mistaken for portrait statues.
George, bronze copy of a marble statue by Donatello, c. Donatello invented his own bold new mode of relief in his marble panel St.
George Killing the Dragon —17, base of the St. George niche at Orsanmichele. Donatello continued to explore the possibilities of the new technique in his marble reliefs of the s and early s.
Peter, which is so delicately carved that its full beauty can be seen only in a strongly raking light; and the Feast of Herod —35with its perspective background. The large stucco roundels with scenes from the life of St. John the Evangelist about —37below the dome of the old sacristy of San LorenzoFlorence, show the same technique but with colour added for better legibility at a distance.
Meanwhile, Donatello had also become a major sculptor in bronze. His earliest such work was the more than life-size statue of St.Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Arte della Lana, and was born in Florence, probably in the year Donatello was educated in the house of the Martelli family.
He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti.
Biography. Donatello (Donato di Niccolò di Betto Bardi), master of sculpture in both marble and bronze, one of the greatest of all Italian Renaissance artists.
A good deal is known about Donatello's life and career, but little is known about his character and personality, and what is known is not wholly reliable.
The Italian sculptor Donatello () was the greatest Florentine sculptor before Michelangelo and certainly the most influential individual artist of the 15th century in Italy.
Nearly every later sculptor and numerous Florentine and Paduan painters were indebted to him. Though Donatello was a. Sculpture is the branch of the visual arts that operates in three ashio-midori.com is one of the plastic ashio-midori.come sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since Modernism, there has been an almost complete freedom of materials and process.
His master has traditionally been recorded as a supposed goldsmith, Giuliano Verrocchi, whose last name Andrea apparently took as his own.
Another questionable biographical tradition is that of his apprenticeship under Donatello, the greatest Italian sculptor of the early Renaissance. The Art of Life [Sabin Howard, Traci L. Slatton] on ashio-midori.com *FREE* shipping on qualifying offers.
Why is figurative sculpture important? With lush photos and vivid narrative, THE ART OF LIFE explores figurative sculpture from the earliest times to the present. The work of ancient and classical sculptors.