Donatello

Biography in short

Donatello is born in a modest family. His/her father is wool carder. In its first youth, he studies, says one, under the painter Bicci di Lorenzo who, according to documents discovered at the 19th century, is also sculptor. Then, during its adolescence, it enters the workshop of Lorenzo Ghiberti, where it becomes acquainted with Brunelleschi. The two friends often collaborate, Donatello drawing left the architectural innovations from the other, like the discovery of the prospect. With this last, it goes to Rome to study the ancient models. Very quickly, Donatello acquires a great notoriety, and obtains several orders for the decoration of the Dome of Florence. In 1428, it opens a large workshop with Florence and it has as assistants Bertoldo, Bartolomeo Bellano and will influence by its productions Desiderio da Settignano.

In 1434, Cosme de Médicis (known as “Cosme the Old one”) takes it under its protection, which makes it possible the artist not to worry about the money. Indeed, the sculptor had evil to hold his accounts, and its fortune périclitait because of its bad management. When Cosme dies in 1464, he asks by will that Donatello remain maintained by Médicis. Donatello is thus seen allotting a small property, which it returns one year later, its management too many distracting it its Article the son of Cosme, Pierre Goutteux}}, ensures a life annuity then to him. Donatello continues to carve until its last days. It is, certainly, largest of the sculptors Tuscan who precede [[Michel-Angel]], and if it is far from equalizing the strength and the power of design of this last, it is to him of much higher than the point of view of the delicacy of work, of the truth of the details, the expression of the character and the skill of execution, either in the handling of bronze, or in that of the marble. When he dies it [[December 13rd]] [[1466]], [[Florence]] makes him funeral in large pump, which will be equalized only by those of [[Michel-Angel]]. Not wanting more, after its death that during its life, to move away from Cosme de Médicis, he had asked to be buried in the St. Lawrence church, where its funeral took place, in the presence of all the artists of the city and of an huge crowd of her fellow-citizens. In more complete, and much longer: == Biographie of Donatello == === the Rebirth === The Rebirth was a time of exceptional vitality in arts. As from approximately 1400 and during two centuries, Europe was upset by an surge of innovative ideas: new ways of building, a new artistic style and novel modes of life. Arts were transformed by the desire to represent the world such as it was and either simply in symbolic systems terms. Paintings and sculptures illustrated real characters in real places - for the first time since Antiquity. One produced an extraordinary number of masterpieces there. Some of the largest artists of all times are contemporary of this period: [[Brunelleschi]], [[Masaccio]], [[Michel-Angel]], [[Léonard de Vinci]], [[Raphaël (painter)|Raphaël]] and [[Titien]] (for Italy). The new atmosphere of spiritual freedom encouraged the artists to explore novel methods. In this new context, the men conceived themselves more like individuals and became aware of their own value. Europe recovered from the Great Plague, which had killed nearly the third of its population in XIVe century. The economic growth was strong; the trade and the exchanges in all kinds made true great strides. Sudden enrichment pushed the noble ones, the merchants and the municipal authorities to spend of the money for works of Article. From work of several artists of XIVe century, the painters invented the representation of the prospect. The sculptors studied the statues of Greek and Roman Antiquity, learning how to work the stone to express movement and action. The bronziers competed of audacity and developed a method to mould large statues, up to ten meters in height. From Italy, these techniques were spread in all Europe. All the artists worked soon in the new style, producing in their turn more ideas and processes. About 1600, however, the noble ones and the merchants did not have of money to spend so much any more for art and the municipal authorities preferred to use the money of the taxes to treat to solids walls and armies, in order to protect itself. === life of Donatello === Donato di Niccolò di Betto Bardi, known as Donatello, wire of a wool carder, was born with [[Florence]], in Italy, in 1386. He works between 1404 and 1407, like companion in the workshop of famous [[Lorenzo Ghiberti|Ghiberti]] which is devoted then to its first door of the Baptistry. It meets there [[Brunelleschi]], which it accompanies in Rome in 1402-1404 to study there the ancient models. On the building site of [[Opera del Duomo]] with [[Florence]], Ghiberti communicates to him its technique of fusion of bronze and its taste for the low-relief. The first unquestionable work of Donatello is the marble David (1408-1409) intended for the brackets of the cathedral. During following years, it carries out many statues out of marble, terra cotta, bronzes and wood for customers residing before very at [[Florence]], but also with [[Pisa]], [[His]] or [[Prato]]. From 1411 to 1423, works of the young artist already extremely known in the artistic mediums follow one another without interruption: in particular statues for the niches of [[Orsanmichele]]. In 1425, Donatello joins to form, during more than ten years, a “company” with [[Michelozzo]] (an architect), and produced capital works with the cathedral of [[Prato]], with [[His]] and with [[Naples]]. From 1430 to 1433, the sculptor remains in Rome where it carries out the Gate vault of the Blessed Sacrament. From the years 1430, Donatello draws its inspiration with the most varied sources: the David bronzes some (traditional tradition) and the gate vault of the Annunciation (expressive simplicity and exubérance of the decoration). Of return to Florence, for the cathedral, it designs the low-reliefs of Cantoria. In 1434-1437, Donatello carries out a paperboard of stained glass which represents the Crowning of the Virgin. In 1437, it receives a very prestigious order, the realization of the casings of the doors of the cathedral of Florence. But Donatello must also answer orders coming from the other Italian cities. With [[Venice]], it carries out the statue of Jean-Baptiste Saint in 1438. From the end of the year 1435 and up to approximately 1443, Donatello works with the decoration of the old sacristy of the St. Lawrence. From 1444 to 1453, Donatello works especially with [[Padoue]] where it settles in 1446-1447. Its principal work padouane is an equestrian statue: Erasmo da Narni, known as Gattamelata. It is a modern counterpart of the equestrian statue of Marc-Aurèle in whom we discover a warrior with the hard and proud face. The latter is ordered by the city of [[Venice]]. And, always with [[Padoue]], it carries out the Furnace bridge in the Saint-Anthony basilica. It is supposed that in 1453, it turns over to Florence where the orders rarefy, apparently, more and more. Because four years later, whereas it has already more than seventy years, it tries to obtain the order of the bronze doors of the cathedral; but those will not exceed the stage of project. It creates also its most personal works and more diverting: Judith and Holopherne like Marie-madeleine. Donatello is found then with His in 1457, modelling the wax plates for the bronze doors of the cathedral, which will be never cast besides. It may be that it is turned over to Florence in 1459, after Cosme de Médicis had ordered the bronze pulpits to him of [[San Lorenzo]]. Donatello, reached of a progressive paralysis, dies on December 13rd, 1466, whereas it was working with this work. == general Présentation of its work == Donatello, in fifty years of continual progress stimulated by a constant self-criticism, succeeds in upsetting the art of the sculpture of the pre-Rebirth. Its art involved one of the most decisive evolutions of the style in the history of the sculpture in Occident. Donatello is a sculptor, and even in this field it is limited to the statues of marbles or bronze and with the reliefs mainly out of bronze too. He works only little wood to carry out statues, material usually used in the religious medium. He carries out few tombs, and small statuettes which are very current at the time. However, even with a field of investigation limited, works of Donatello are essential as well by their occupation of space, as by returned attitudes and expressions. Donatello is devoted to the art of the statues and the relief in a concomitant way. The work of the statues enables him to improve returned attitudes and expressions of the face. The relief enables him to deal with problems of space and prospect. It starts to work on marble, but little by little it uses the bronze which enables him to integrate technical innovations. In its first works like the Prophets of the bell-tower of Florence, it takes account of the height of the base of the statues compared to the public. To bring closer its statues to the public, it inclines the face, in order to transmit to those which look at them all its expressions. But little by little the statues will acquire a clean existence, outstanding Donatello by its realism which is not solely used to translate an external element but to release an interior attitude, an individual conscience. For example, one will not say “the statue smiles” but well “the statue to the happy air”. That is found in Gattamelata de Padoue and the Judith. In its “Life of Donatello, Florentin sculptor”, [[Giorgio Vasari]] pointed out that “'' its works are so remarkable by their grace, their drawing and their beauty, which they were considered to be closer to more of the excellent productions of antiquity that those of any other artist. Also he is considered, rightly, like the first which knew well to employ the subjects covered in low-reliefs. To see the judgment and the facility of which it made proof, it is recognized that it had a perfect command of them; no artist exceeded it, and nowadays still nobody showed his equal ''”. Certain historians divide the work of Donatello into four times: ===Les époques=== ====L' time of youth, until the voyage to Rome (1406-1432) ==== [[Image: Stmark.jpg|right|thumb|'' Saint Marc '' (1411) marble of 236 cm Orsanmichele, Florence]] Statues of the cathedral and Orsanmichele; the wood crucifix; monuments, the baptismal font of His; the two statues of Put Martelli, the portrait of Nicolas Uzzano. * '' [[David]] '' (1408) marble, height: 191 cm - Museo Nazionale LED [[Bargello]], Florence [http://www.wga.hu/art/d/donatell/1_early/david/1david_1.jpg] * '' St Jean the Evangelist '' (1410-1411) marble, height: 210 cm - Museo dell' Opera del Duomo, Florence [http://www.wga.hu/art/d/donatell/1_early/duomo/3john_1.jpg] Detail: [http://www.wga.hu/art/d/donatell/1_early/duomo/3john_2.jpg] * '' St Marc '' (1411) marble, height: 236 cm - Orsanmichele, Florence [http://www.wga.hu/art/d/donatell/1_early/orsanmic/2mark_1.jpg] * '' Saint Georges '' (1416) financed by '' Corazzai '' ([[Arti|Corporation]] of the Arms manufacturers) [http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_1.jpg Zoom] [http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_2.jpg] [[Image: Sangiovannievangelista.jpg|thumb|nun|'' Saint Jean the Evangelist '']] * '' St Louis '' (1413) bronzes gilded, height: 266 cm - Santa Croce, Florence [http://www.wga.hu/art/d/donatell/1_early/orsanmic/2louis_1.jpg] * '' St Georges '' (1416) marble, height: 214 cm - Museo Nazionale del Bargello, Florence * '' Prophète Habacuc (Lo Zuccone) '' (1423-1426) marble, height: 196 cm - Museo dell' Opera del Duomo, Florence [http://www.wga.hu/art/d/donatell/1_early/duomo/8habak.jpg] [[Image: Abacuc di donatello.JPG|thumb|'' Prophète Habacuc '']] * '' Crucifix '' (1412-1413) wood, 168 X 173 cm - Santa-Croce, Florence [http://www.wga.hu/art/d/donatell/1_early/1cruc_sc.jpg] * '' Banquet of Hérode '' (1427) bronzes, 60 X 60 cm - His, Baptistère, baptismal font [http://www.wga.hu/art/d/donatell/1_early/siena/1font_1.jpg] * '' Buste of Nicolas Uzzano '' (1430) polychrome terra cotta, height: 46 cm - Museo Nazionale del Bargello, Florence [http://www.wga.hu/art/d/donatell/2_mature/1uzzano.jpg] * '' Monument for Jean XXIII '' (1435) in '' will pietra serena '' '' will pietra serena '': a rock dark gray, a mica schist, whose relative hardness allows the realization of monolithic columns, a contrario of the '' will pietra strong '', stone detrital, of micaceous sandstone for the churches and palates like embossings of the Pitti. Palate gilded, height: 419 cm - Baptistry, Florence [http://www.wga.hu/art/d/donatell/1_early/antipope/1john_23.jpg] ====L' time of maturity (1433-1443) ==== The Gate vault of Saint-Pierre, Annunciation of Santa Croce, two last Statues of the cathedral; [[Cantoria]]; the Pulpit external of Prato; the Old Sacristy of San Lorenzo, the bronze David. * '' Annonciation '' (1435) will pietra serena of it gilded, 218 X 168 cm - [[Santa Croce]], Florence [http://www.wga.hu/art/d/donatell/2_mature/2annun_1.jpg] * '' Cantoria '' (1439) marble, 348 X 570 cm - [[Museo dell' Opera del Duomo (Florence)]] [http://www.wga.hu/art/d/donatell/2_mature/cantoria/cantori.jpg] [[Image: Cantoria Donatello tender offer Florence.jpg|thumb|Cantoria - Museo dell' Opera del Duomo, Florence]] * '' [[David (Donatello)|Bronze David]] '' (1430) bronzes, height: 185 cm - Museo Nazionale LED [[Bargello]], Florence Image: Donatello David plaster replica face 1000px wide.jpg|Retort of the David of (1409)
original with the '' Museo Nazionale del Bargello '', Florence Image: Donatello David plaster replica head and shoulders face right 1000px wide.jpg|

Détail
(of this resin counterpart) * '' external Chaire '' (1438) marble, 73,5 X 79 cm - Cathedral of Prato [http://www.wga.hu/art/d/donatell/2_mature/prato/pulpit_1.jpg] [[Image: Prato, duomo pulpito di donatello E michelozzo.JPG|thumb|Pulpit external of Prato]] * '' Ancienne Sacristy '' (1428-1443) - Church of San Lorenzo, Florence [http://www.wga.hu/art/d/donatell/2_mature/sacristy/1sacri01.jpg] ==== '' the time of Padoue (1443-1453) '' ==== *Le High altar of San Antonio; [[Gattamelata]]. [[Image: Gattamelata.jpg|nun|thumb|Equestrian statue of Gattamelata 1447-50 - Bronze - 340 X 390 cm - Piazza del Santo, Padoue]] ==== '' the last time (1454-1466) '' ==== [[Image: St Jean Baptiste-Donatello-Sienne.jpg|thumb|250px|right|'' Saint Jean-Baptiste '' bronzes of Donatello (1457) 185 cm - Duomo of His]] * '' Judith and Holopherne '' (1455-1460) bronzes, height: 236 cm - [[Palazzo Vecchio]], Florence [http://www.wga.hu/art/d/donatell/3_late/1judith1.jpg] * '' Marie-madeleine '' (1457) wood, height: 188 cm - Museo dell' Opera del Duomo, Florence [http://www.wga.hu/art/d/donatell/3_late/3magda_1.jpg] * '' Saint Jean-Baptiste '' (1438) wood, height: 141 cm - Santa Maria Gloriosa dei Frari, Venice [http://www.wga.hu/art/d/donatell/3_late/2john_1.jpg] * '' Chaire (on the right) '' (1465) marble and bronzes, 123 X 292 cm - Church of San Lorenzo, Florence [http://www.wga.hu/art/d/donatell/3_late/lorenzo/pulpit1.jpg] ===Caracteristic and techniques=== ====Caracteristic générales==== The first works of Donatello show a rather fast passage in a way close to the late Gothic to a style having assimilated the humanistic ideals of return to the antique and realism. Since its voyage to Rome with Brunelleschi, Donatello took as a starting point much the antiquity. It is noticed that the characters are often represented in contrapposto, the character intrigues by the opposite directions of the legs and the head. It is noted, by the study of the various techniques used, that the site of the sculpture has for Donatello much importance because it always makes so that the spectator sees the extremely imposing and well proportioned statue. ====Caracteristic of the œuvres==== The unusual lengthening of the bust and the head as well as the light slope of the thighs are relatively astonishing at the marble David. But these apparent disproportions are regularized when one considers the figure under. The Banquet of Hérode pushes with their extreme limits the dilation of space and the plays of prospect, put at the service of an intense dramatization of the episode represented. Gattamelata renews the Roman tradition of the equestrian monument; the statues and the low-reliefs form a kind of “crowned conversation” carved where the architectural figures, spaces and the natural landscapes are based in a unit at the same time prodigiously coherent and infinitely varied. Judith and Holopherne, by her hieratism and her geometrical rigor, refinement in returned surfaces, the richness of her allusions symbolic systems, the subtlety of her design and the virtuosity of her execution, reaffirm the attachment of the artist to the formal principles of the first Rebirth. With the extraordinary Marie-madeleine, the disintegration of the forms expresses, with a power which one until had known there no example, the heat of the prayer and the anguish of death. Its bronze David and his Saint Jean the Evangelist show, seen closely, of the deformed faces. They reach their right proportions only seen of a certain distance and a certain height. Donatello also excelled returning the folds of clothing or the reasons architectural, for example Cantoria of the Dome. He was also recognized for his representation of the human feelings, the courage of youth for the David or the Georges Saint with the contrition of the penitent Madeleine. ====Le rilievo schiacciato==== The innovations of Donatello in the field of the relief opened new ways and were determining for the development of European art. The starting point is the relief of the base of its statue of Georges saint for Orsanmichele. Compared to the relief of the base of the '' Quattro Santi Coronati '' of Nanni di Banco, created approximately a year earlier, it breaks radically with the usual designs of the low-relief. Whereas Nanni aligns its four stone masons and their works in a high relief without reference to different plans in space, Donatello manages for the first time to introduce the depth into its relief. Of two sides, theater of action, fight of saint Georges against dragon, is apparently narrowed by short cuts perspective, but, insofar as these side space limitations are solved in a sight of landscape, which is in the content, the space of the scene widens in-depth. The novel method of relief, which produces this visual effect, is what is called the '' rilievo schiacciato '', i.e. crushed” or “flat” relief the “. A dramatization of the narrative mode comes to be added to this technique: the principal moment of the action is judiciously chosen, the '' Pazzi Madonna '' 1420-1430, marble, 74,5 X 69,5 cm, Staatliche Museen, Berlin [http://www.wga.hu/art/d/donatell/1_early/pazzi.jpg] in is an good example. Another example is visible with the museum of the beautiful-art of Lille: '' Salome or the feast of Hérode '' (about 1435). On this marble panel of 50 * 71,5 cm, Donatello presents various moments of the biblical tragedy to us: the feast, the dance of Salome, the arrest of St Jean… Pas less than 9 plans are visible of the young woman sitting on the bench with the first until the last plan which represents an architecture. This sculpture shows the precision of the work of Donatello which knew to give one great depth to its work by using the contemporary theories of his/her friend Brunelleschi. It thus makes the junction between the ancient world (profile of medal of the characters) and the prospect. ==Œuvres== Donatello was distinguished like the first, can be, large sculptor of [[the artistic Rebirth|Rebirth]], the inspirer of [[Michel-Angel]] and other large sculptors who succeeded to him. He worked a large variety of materials with an equal virtuosity. He applied to the sculpture of the new techniques, resulting from architecture. Thus, by its technique of the '' schiacciato '' (“crushed”), it benefitted from discovered laws of the prospect by Brunelleschi. This innovation enabled him to work according to the glance of the future spectator. Thus, its '' David '' (between 1430 and 1440) of bronze and his '' Saint Jean the Evangelist '' (1408) shows, seen closely, of the deformed faces. They reach their right proportions only seen of a certain distance and a certain height. Donatello also excelled returning the folds of clothing or the reasons architectural, for example the '' Cantoria '' (balcony for organ) of the Dome. He was also recognized for his representation of the human feelings, the courage of youth for the '' David '' or the '' Saint Georges '' (1416) with the contrition of the '' penitent Madeleine '' (1454). == Exposition of its works == ===Florence=== The majority of works of Donatello are with [[Florence]]. Among the most known, one can quote: [[Image: Abraham Donatello tender offer Florence.jpg|thumb|Abraham ready to sacrifice Isaac - Marble, museum of the Work of the Dome]] * [[Museo dell' Opera del Duomo (Florence)|Museum of the Work of the Dome]]: ** '' Habacuc '' (called " lo Zuccone '', “the large marrow”, because of the baldness of the character represented) ** '' Penitent Madeleine '' ** '' Prophète '', statue, (1406-1409) ** '' Saint Jean the Evangelist '', statue, (1410-1415) ** '' Cantorie de Donatello '', cantorie, (1433-1439) ** '' The Sacrifice of Isaac '', group, (1408-1421) ** '' The pensive Man '', statue, (1408-1421) ** '' Beardless Prophète '', statue, (1408-1421) ** '' Christ Redeemer framed of two prophets '', group, [[Simone di Francesco Talenti]] and Donatello, (1410-1431) * Church of [[Orsanmichele]]: ** '' Niche of the party guelfe '' ** '' Saint Georges '' (1416) financed by L ''' Arte di Corazzai '' (Corporation of the Arms manufacturers) * '' [[Palazzo Vecchio]] '': '' Judith and Holopherne '' * National museum of [[Bargello]]: ** '' Saint Georges '' ** '' David '' out of marble, ** '' David '' bronzes some (very different compositions) * '' [[Santa Croce]] '': '' the Annunciation Cavalcanti '' = = = the === United States * Works exposed to [[National Gallery off Art]], [[Washington D.C.]], sculptures: ** '' Bacchante '', bronzes ** '' Christ dead held by angels '' ** '' Angelot playing '', bronzes ** '' Saint Jerome '', bronzes ** '' Satyre '', bronzes == Notes and references == ==Liens interns== * [[Giorgio Vasari]] quotes it and describes its biography in '' [[Quickly]] '' {{Commons}} {{Series painting horizontal}} {{Multi stringcourse|Gate history of art|Gate Rebirth|Gate Italy}} [[Category: Native of Florence]] [[Category: Italian sculptor]] [[Category: Sculptor of the Rebirth]] [[Category: Birth in unknown year]] [[Category: Death in 1466]] {{Bond BA|No}} {{Bond BA|sv}} [[rear: دوناتلو]] [[bg: Донатело]] [[bn: দোনাতেল্লো]] [[Br: Donatello]] [[bs: Donatello]] [[of: Donatello]] [[in: Donatello]] [[eo: Donatello]] [[be: Donatello]] [[fi: Donatello]] [[gl: Donatello]] [[He: דונטלו]] [[hr: Donatello]] [[it: Donatello]] [[ja: ドナテッロ]] [[ka: დონატელო]] [[lt: Donatelas]] [[nl: Donatello]] [[No: Donatello]] [[pl: Donatello]] [[Pt: Donatello]] [[ro: Donatello]] [[Ru: Донателло]] [[simple: Donatello]] [[sq: Donatello]] [[sv: Donatello]] [[HT: โดนาเทลโล]] [[tr: Donatello]] [[vo: Donatello]] [[zh: 多纳太罗

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