Donatello’S Sculptural Work In The Renaissance Era

Donatello’s sculptural work in the Renaissance era

Some people travel in order to meet places, which have been visited by many. But unfortunately there are few who know thoroughly, the story and the importance of each of these sites. It is important for me to write this text, that will help them to have a better vision or discernment of this era.

In order to start writing about all this work, we must perform a small analysis of the stage in which this artistic life was lived. Let’s go to the Renaissance time, where the way of observing art was transformed, and ceasing to be dominated. The artists became a bit free, although they were still in guardianship of the patron, but were defended and supported by them.

The Renaissance period allowed us that many of its artistic creators, to leave us inheritance its enriched series of works. Which took a lot of dedication to let their skills and knowledge arise. In each work we find stories and meanings that enrich us of cognition and history. He also gave way for his apprentices to become great sculptors and painters managing to soak their knowledge and, thus, continue projecting.

Donatto di Betto Bardi, Donatello. It was one of the creators and greatest artists of the style of this stage. Ruiza, Fernández and Tamaro, (2004) affirms: “Donatto was, a student of Lorenzo Ghiberti who left his special technical legacy, who was experienced, but what did particular to the works of this author was his ability to capture hisown style".

History and Biography, (2018): "After his trip to Rome he studied in depth the ancient art, which served as the basis for creating his sculptural heritage". We talk about a high range of sculptures which is difficult for us. The ability of this man was not based on the models he used, but on his power to enter the world of the character he was going to perform. We can observe his professionalism and knowledge of sculpture, in his great statues for Orsanmichele and the Cathedral of Florence. It greatly influenced Florentina culture, and also attracted an important development of reality in Italian painting. In the same way their works shone a lot for their ability to perfectly manage the enriched point of view in European art.

Let’s make a small tour, knowing the story and the process that this creator had to follow to reach the final result of his works, which today we can observe in different locations in Europe. But, before all, it is important not to forget, that the professional life of this individual man is divided into several facets or periods.

Let’s start this little journey with: the little prophet, being one of his first works, carried out in marble, in the year of 1407. Unlike the typical sculptures that are large, this average child only 128 centimeters.

Saint John Evangelist made in (1409-1411), this time Donato prepares a man with a gathered with the distant, managing to observe that he is sitting and relaxed, his big and baggy clothes reflects a game of illuminations and shadows in thepart;On the other hand, you can visualize the wrinkles that he already had, where we can confirm that he had already reached his old age.

In the church of Orsanmichele, in Florence. We can locate San Marcos both outside and interior of that place, due to the great agglomeration of visitors that are daily. This being the reason for the replica of the same. It was sculpted between 1411 and 1413 and has a 248cm high bearing. Nevertheless;As we have already understood most of the work done by this author, they are in Florence. But, there is one of its many sculptures, which is in Venice.

At the time of (1415-1417), San Giorgio was carved, which is considered one of the best Italian monuments, for being a sanctified teenager and an idol. It was created in the author’s youth.

David, belonging to the poetic-classical period. (1440). Made in copper, naked and representing a completely natural human figure, emphasizing that it was the first work sculpted in a liberalist way, this time we can verify that an exaltation is made to the beauty of the human body, representing a clear idea of the biblical David andGoliath. This second character was a strong man who scared everyone, but it was he, who defeated him by cutting his head which is resting at the young man’s feet. Atis Amor, elaborated in the same period, is a voluptuous angel, small and with some golden parts, which has a great quattrocentist influence.

When he lived in Padua ("Paduano" period), he built Gattamelata, (1444). It was made exclusively for the Plaza del Santo of the same city, and sent to do by Antonio Narmi son of the individual, who was carved in bronze, and in this way the descendant had the pleasure of honoring his father. It is very important to take into account that this work was commissioned to many authors who had not been able to finish it and it was Donatello who managed to do it. It is a figure made in molten copper, where you can explicitly see that knowledge of ancient art was applied.

María Magdalena was a woman who regretted her sins according to some religious stories, in this way, becoming the inspiration of the aforementioned author.

The Guide, (2014) states: "María Magdalena as a penitent of Donatello, is one of the earliest precedents of the new Mannerist aesthetics". Here we can perform an analysis of a woman, in which her face and body demonstrate the passing of the years, as well as her life of redemption. This founder shows us a dramatic figure, with a review of the classical era, approaching Mannerist art and somewhat baroque.

The tomb of Cardinal Rainaldo Brancacci, is another Donato project which is not located in his hometown, if not, in Naples (Italy). He did not work alone, but had as a collaborator Michelozzo, who was one of the most recognized in that city.

Judith and Holofernes (1446), made after the time he lived in Padua, Italy, and made in the final period of his life called "Expressionist". They were sculpted in bronze and represents the attitude of the winner dominating the defeated. Niccolo, he wants to show us the historical moment in which the female raises her sword to give her mortal blow. In this way we can have a clear perception, that women are not weak, if not, the opposite.

Bibliographies

• History and Biography, (2018). Biography of Donatello. In history-Biography.com. Recovered from: (https: // history-biography.com/Donatello/).
• Ruiza, m., Fernández, t. and Tamaro, and. (2004). Biography of Donatello. In biographies and lives. Online biographical encyclopedia. Barcelona, ​​Spain). Recovered from https: // www.Biography andVidas.com/biography/donatello.htm on January 17, 2020
• ‘Renaissance’. Author: Julia Máxima Uriarte. For: characteristics.co. Latest edition: June 9, 2019. Recovered from: (https: // www.features.co/Renaissance/). Consulted: January 17, 2020.
• Art Spain, (2007). Introduction to the biography and work of sculptor Donatello (1386 -1486. Recovered from: (https: // www.Artespana.com/Donatello.htm).
• Chavarría, k. (2015). Life and work of sculptor Donatello. Art and biography. Recovered from: (https: // is.Slideshare.Net/Kennethchavarriavalverde/Life-y-Obra-Del-Escultor-Donatello).
• Moreno, V;(1999). Biography of Donatello. Business.com. Last update: (2018). Recovered from: (https: // www.Buscabiografias.com/Biography/Verdelle/36/Donatello).