The name of the Italian sculptor Donatello (Donatello) is inextricably linked with the early Renaissance. His work had a significant impact on the cultural heritage of the whole world. The master’s works, so unlike each other, are distinguished by their deep meaning, energy and perfection of forms, they delight, fascinate, and remain for many centuries the standard of high art.
Biography
Donatello (diminutive form) by Donato di Niccolo di Betto Bardi (Donato di Niccolo di Betto Bardi) - this is the full name of the great artist, was born in Florence (Firenze), and maybe in its environs, tentatively in 1386.
From an early age, he was drawn to the beautiful and showed extraordinary creative abilities. His father was engaged in a rather profitable business at that time - processing and production of wool, and planned to attract his son to his craft, but all attempts turned out to be futile. The head of the family died when Donatello was still a teenager, leaving behind a rich inheritance.
The future great sculptor first came into contact with the world of art when he studied jewelry in one of the workshops of Florence, owned by the famous artist and sculptor Bicci di Lorenzo. Here Donatello mastered the technique of bronze casting, in which many of his future independent works were performed. Jewelry at that time was closely intertwined with sculpture, architecture and painting. It was the goldsmiths who worked on decorating the Florentine Cathedral. It is noteworthy that the training in the workshop was paid for by the banker, philanthropist and patron of the young talent Martelli.
Donatello continued his artistic education in Rome, going to the ancient city around 1404-1407, along with his best friend Filippo Brunelleschi. There, his teacher was an outstanding sculptor, architect, historian, unsurpassed master of relief works Lorenzo Ghiberti (Lorenzo Ghiberti).
Mentors of the young man managed to lay in it the main landmarks and foundations of high art, and natural industriousness and talent allowed the birth of unusual works of marble, wood, bronze, which have glorified their author for centuries. Returning from Rome to his hometown, the young master began to receive numerous orders from influential people, politicians and representatives of the higher clergy. Very quickly, the ingenious sculptor won the recognition and respect of his contemporaries.
Donatello traveled a lot: he created his magnificent sculptures in Pisa, Siena, Rome, Padua, Venice and many other cities in Italy.
Little information has been preserved about the master’s personal life, he did not leave offspring, died in 1466, at the age of 80, being in a rather difficult financial situation, having been seriously and long ill before his death. The body of Donatello was buried with honors in the Basilica of San Lorenzo (Basilica di San Lorenzo) - the largest and oldest church in Florence, to the exterior and interior decoration of which a brilliant sculptor was involved.
Sculpture
Donatello's look at the sculpture turned out to be truly innovative. According to contemporaries, in the work on statues and reliefs, the master initially used a drawing, which was then transformed into a small model made of clay or wax. So the composition of the future work was created.
He carried out all his work with his own hands, attracting assistants and students only to complete minor details. Surface finishing was carried out without special care, which created the effect of some incompleteness (non-finito). Much attention was paid to the subtlest play of light, shadows and highlights. The distance from which the work was supposed to be considered was necessarily taken into account. The master’s works are filled with realism, freedom and great courage. The main innovative techniques in the sculptural works of Donatello are:
- The presence of three plans in the relief;
- Application of accurate knowledge of perspective in gradation of volumes;
- Creating a motion effect in static shapes;
- Objective correctness of proportions and forms;
- Focusing on the transfer of the inner world and character character.
This revolutionary approach for Renaissance artists was later borrowed by many of Donatello's students and sculptors of subsequent eras. At different periods of his work, the master adhered to both classical and realistic style.
Busts
Thanks to Donatello's passion for individual sculptural portraits, the fashion for busts was revived during the Renaissance. This kind of plastic, forgotten at one time, but extremely popular with ancient Greek and Roman creators, was again resurrected. Art historians especially note the liveliness, emotionality, realism and fullness of the busts of children made by Donatello - his work largely determined the vector of development of portrait images in sculpture.
One of the artist’s first works in this genre of plastics is the bust of Niccolo da Uzzano, an influential Florentine banker, public and political figure, created around the 30s of the 15th century. Although, some experts question the authorship of the work.
The bust clearly traces the classical traditions of antique portrait sculpture. The work is made of colored clay with a porous structure. With extraordinary skill, the master managed to convey the energetic and decisive character of the statesman: a sharp turn of the head, an attentive look, a strong-willed chin, strong shoulders hidden under the drapery of ancient robes - every detail convincingly reveals the hero's personality. The bust was restored in 1985, and today it is part of the art collection of the National Museum of Bargello (Museo Nazionale del Bargello) in Florence.
Tomb of John XXIII
Tomb of Pope John XXIII (Giovanni XXIII) - a unique work, co-authored with Michelozzo di Bartolomeo (Michelozzo di Bartolomeo), which became the beginning of a long and fruitful collaboration between two ingenious sculptors. The work was created around 1425-1427. The majestic design of the tomb was recognized as exemplary for tombstones, which were installed in the temples of Italy in the XV-XVI centuries.
The four-meter marble building is visually divided into three parts, the middle (with a sarcophagus and a bronze figure of John XXIII) was completed by Donatello. The sculptural portrait of Balthazar Cossa (Baldassarre Cossa) - this is how the pontiff’s worldly name sounds (the Catholic Church, by the way, considered him an antipope), filled with realism, because it was created not on the basis of a posthumous mask, but according to the master’s personal memoirs. The pacified figure of the reclining high priest looks asleep and completely alive. You can see the tombstone in the Baptistery of San Giovanni (Battistero di San Giovanni) of the Duomo Cathedral in Florence (Duomo di Firenze).
Marble Statue of David
The creation of a marble statue of King David dates back to 1408-1409. The image of the biblical ruler was often broadcast by artists in the form of a wise old man holding a code of laws. Donatello’s interpretation was different from the traditional vision: he portrayed David as a young victorious warrior who hit the terrible Goliath, which to some extent symbolized the liberation of Florence from the pressure of Milan and Naples.
This work combines elements of classic and Gothic style. A young king, full of energy, perseverance and grace, is presented in a natural pose, his hand rests on his side, holding robes, his head is decorated with an amaranth wreath, which served as a symbol of courage and courage in antiquity. An important point: the drapery of the falling raincoat does not hide the figure of the young hero, but clearly outlines its relief.
Since the end of the 19th century, the statue has become part of the treasury of the National Museum of Bargello (Museo Nazionale del Bargello), in Florence.
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Bronze statue of David
The bronze statue of David, the work on which was carried out in the 30s or 40s of the 15th century, occupies a special, very significant place in the work of Donatello.
The creation of a sculptural image of a nude (so characteristic of works of antiquity) was a highly innovative and revolutionary step for the Renaissance, which no master had ever dared to do before. In the artistic concept of Donatello's work, classical traditions of ancient times are clearly traced. It is noteworthy that the technique of the execution of work (investment casting) was borrowed from Roman and ancient Greek masters.
The sculpture was commissioned by Cosimo Medici the Old (Cosimo di Giovanni de 'Medici, Cosimo il vecchio) - an influential banker, philanthropist, famous statesman and public figure who became the unspoken ruler of Florence, and was to personify freedom, independence, the triumph of justice over violence and despotism .
In 1495, after the change of political power, an almost one and a half meter statue was taken from the garden of the Palazzo Medici Riccardi, the residence of a powerful clan, and installed on a marble column in the courtyard of the city administration, the Palazzo Vecchio, where it could be contemplate all comers. In 1777, a work by Donatello was included in the art collection of the Uffizi Gallery (Galleria degli Uffizi), today it occupies a special place among the exhibits of the Bargello National Museum.
Today, the magnificent work of the master is closely linked with modern art. In 1956, the Italian Academy of Cinematography (Accademia del Cinema Italiano) established a special annual national award (like the American Oscar) - "David di Donatello" (David di Donatello), presented in different categories to the best domestic and foreign films. The honorary award is a several times smaller exact copy of the legendary sculpture. David's gilded figure stands on a square malachite stand, and eloquently testifies to the Italians' love and respect for their culture and history.
Statue of Evangelist Mark
The sculptural image of St. Mark was made by Donatello around 1411-1412, commissioned by one of the craft workshops in Florence. The statue was intended to decorate a niche in the southern part of the building of the Orsanmichele church, which served as both a granary and a temple. It is noteworthy that for six centuries the magnificent work of Donatello did not leave the very place where it was originally installed.
The figure of the Evangelist Mark is distinguished by calm and a certain dignity. According to many art critics, its characteristic features are considered stability, monumentality and proportionality of forms. With incredible skill, the plasticity of the outlines of clothes is conveyed. The glance of St. Mark is filled with deep thoughtfulness, which gives its image significance and grandeur.
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Statue of Evangelist John
The statue of the Evangelist John the Evangelist dates back to the early period of Donatello's work, it was created in about 1408-1415, and was to serve as a decoration for the cathedral of Santa Maria del Fiore (La Cattedrale di Santa Maria del Fiore) in Florence. According to art critics, in this statue of the young master, a new, humanistic vision of human nature is concentrated, which has become the leitmotif of the Renaissance.
The monumental figure of the seated John the Theologian exudes calm and restrained dignity. In the courageous image of the Saint one feels firmness and strength of character. Every detail of the sculpture is framed with special care: drapery of clothes, powerful hands, a spiritualized face framed by thick hair and a beard.
Today, this wonderful work by Donatello can be seen in the Museum of the Opera del Duomo (Museo dell'Opera del Duomo).
Gattamelath Equestrian Statue
The three-meter equestrian statue of the Italian condottier, the commander-in-chief of the troops of the Venetian Republic, Erasmo da Narni, nicknamed Gattamelata, was created in the 30s and 40s of the 15th century, at a time when the great sculptor lived and worked in Padua (Padova).
Work on the skillful monument was carried out by order of the widow and son of the military leader. In 1453, a bronze statue on an 8-meter pedestal was erected by decision of the Senate in one of the main squares of the city, opposite the Basilica of St. Anthony (Basilica Pontificia di Sant'Antonio), where the body of Erasmo da Narni rested.
According to experts, the prototype of the monument was an equestrian monument to Emperor Marcus Aurelius (II century AD) in Rome, which young Donatello saw during his education. Now the original sculpture can be seen in the Capitol Museum, and a copy is installed on the square.
Gattamelata is portrayed as a brave horseman, a triumphant, confidently sitting in the saddle. The hero is dressed in Roman armor, and at the same time endowed with vivid individual traits, talking about Donatello's talent in the art of portraiture. It captivates the integrity of the compositional solution, the harmony of vertical and horizontal lines, the thoroughness of the development of each detail. This monumental work is recognized as one of the most significant masterpieces in the work of the genius Donatello.
Bronze dancing Atis (Cupid)
A one-meter-long bronze statue of Amur (104 cm) of a charming, laughing boy, a mischievous man with his arms raised up, stands apart in Donatello’s creative heritage: like no other master’s work, it is thematically devoted entirely to a plot borrowed from ancient mythology.
Historians consider the date of creation of the work period no later than the 40s of the XV century. In art circles, sculpture is conventionally called "dancing Atis (or Cupid)"although it is still not known for certain who is actually depicted by the master. It is surprising that there are conflicting details connected in a single image: wings behind the back and legs, a satyr tail, half-tailed pants, a flower in the hair, a fancy belt, snakes wrapping around the bottom of the figure. All these elements speak of different mythological heroes of antiquity, so the prototype of the statue could be Mercury, Perseus, Cupid, Satyr, Pan, young Hercules or Atis.
The mysterious work of Donatello, filled with children's energy, fun and dynamism, is among the exhibits of the Bargello National Museum.
Bronze sculpture of the Madonna and Child
The famous bronze statue of the Madonna and Child was created in the so-called Paduan period of Donatello's work, in about 1447-1450. In the 1.5-meter sculpture, the motives of the Byzantine icon are clearly visible.
The figure of the Virgin occupies a central place in the altar of the Basilica of St. Antonio in Padua (Basilica Pontificia di Sant'Antonio di Padova), it is located between St. Francis and Anthony (the statues are also made by Donatello), although according to the original plan of the artist, the compositional solution should have been somewhat different.
Saint Mary is depicted as a fragile, refined virgin, sitting motionless on a throne decorated with the heads of the sphinxes. She holds the Savior in her hands, and seems even drooping from the weight of the massive crown. The young Madonna Donatello exudes calm and spirituality, at the same time the folds of a carelessly folded cloak, cherubs decorating the robe give the sculpture grandeur and solemnity.
Wooden statue of Mary Magdalene
“Impressive,” Giorgio Vasari, an Italian craftsman, writer, and historian, used this exact epithet to describe the sculpture of Mary Magdalene carved by Donatello from a tree around 1454-1457. The work belongs to the late period of the artist’s work, and is imbued with the deepest drama that goes beyond the norms accepted for the art of that time.
The follower of Jesus Christ was traditionally portrayed as a blossoming, healthy beauty with luxurious, thick hair. Donatello portrayed her in the form of a dried-up old woman, a hermit, exhausted by strict fasting, voluntary deprivation, and incessant repentance. The sculpture is saturated with the theme of suffering, gloomy and disturbing notes are clearly audible. The work was created to decorate the Baptistery of San Giovanni in Florence, and now it is part of the art collection of the Opera del Duomo Museum.
Statue of the Prophet Habakkuk
The marble sculpture of the prophet Habakkuk was made by Donatello at the time when the master lived and worked in Florence. It is not known exactly when the work on the work was carried out, the approximate period is considered to be 1427-1435.
A magnificent statue (like a similar statue of the prophet Jeremiah) was created by the artist to decorate the Campanile di Giotto bell tower, which is part of the architectural ensemble of the Cathedral of Santa Maria del Fiore, and is (according to contemporaries) an accurate and extremely believable sculptural portrait of one of the inhabitants of Florence. Currently, the work is among the priceless exhibits of the Opera del Duomo Museum.
In the image of the prophet Habakkuk, motives of classical antique plasticity are concentrated. Each detail of the sculpture emphasizes the strong-willed character of the hero, giving rise to powerful expression and expressiveness. A massive, bald head, large features of a wrinkled face, deep-set eyes, strong arms, heavy folds of a Roman tunic - all this is turned with extraordinary skill, and creates the feeling that life was breathed into a stone statue.
Sculpture of st george
The two-meter bronze statue of St. George is included in the list of the most recognizable works of the master. The date of its creation is approximately 1415-1416, the period when Donatello was still a very young sculptor, barely over 30 years of age. The work was commissioned by the workshop of gunsmiths in Florence, and was supposed to serve as an ornament to the church of Orsanmichele, later it was transferred to the National Museum of Bargello, where it is stored today.
St. George is depicted by the artist as a wonderful, valiant warrior, heroic youth exuding youth, courage and courage. It is an ideal of the humanistic era, in which external beauty and fortitude are combined. Despite the severity of the frontal posture, the figure of the patron saint of warriors does not seem frozen in statics: a slight turn of the head, shoulder, legs, careless folds of a cloak - all this gives rise to a sense of reality and vivacity.
Reliquary of St. Rossore
The bronze relic of St. Rossore or Luxor (Lussorio, Rossore) is a very interesting work of the artist, performed in the years 1425-1427, commissioned by the monks of the warrant of humiliates.
A special storehouse for the relics of the early Christian martyr was designed in the form of a bust. The sculptural image is characterized by maximum realism, there is a feeling that the image was created from nature. Many art historians are inclined to see in this work a self-portrait of Donatello himself.
Teenage Mutant Ninja Turtles - Modern Mass Culture
Donatello has gone down in world history forever, his amazing works are well known both to narrow specialists in the field of art and to a wide circle of beauty lovers.
The name of the ingenious sculptor received a completely new interpretation in modern mass culture. So, in particular, in the legendary American comic book, animated series, computer games and subsequent popular projects about Teenage Mutant Ninja Turtles, one of the main characters is named Donatello, in honor of the great Italian sculptor.
A fictional character is not fond of plastic and the creation of works of art, he has a sharp mind, and is rather close to science and technology. Nevertheless, his big name made more than one generation of children and teenagers wonder who this Donatello was and what he was so famous for, which perhaps aroused interest, and then love for the great Renaissance.
