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Statues of david
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Donato di Niccaló di Betto Bardi, also known as Donatello, was an Italian Renaissance artists and sculptor born in 1386 in Florence, Italy. He is arguably one of the greatest master sculptors of the 15th century. His ability to immortalize human expression through his art put him in a league of his own. In Florence Donatello was taught the basics of sculpting and early on he was an apprentice to Lorenzo Ghiberti. Donatello creatively carved sculptures out of stone, wood and bronze; giving life to the raw materials as he created. Donatello died at the age of 80 years old, but he left behind a legacy of sculptures for the coming generations to admire and enjoy. I will outline several of the masters more notable pieces; choosing selections from his entire sculpting career.
The story of David and Goliath is a well known story of the bible. The young hero of this story is also the basis of two of Donatello’s sculptures. In 1408 Donatello was commissioned by the operai of the cathedral of Florence to sculpt a statue of David. This was the first of the three versions of David Donatello created. The statue is a life-sized marble carving of David and is one of Donatello’s earliest known works. The statue depicts young David in triumph; with the head of his enemy, the giant Goliath, at his feet. The statue was intended decorate the buttresses of the tribunes of the cathedral alongside 12 statues of prophets, but was thought to be too small and was ultimately removed and replaced.
The second statue created by Donatello was the first of its kind. It was the first free standing bronze sculpture of a human during the Renaissance period. The statue again depicts the hero David with the slain giant Goliath at his feet, but that is where t...
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... Sculpted upon the relief is a carefully crafted rendering of the Virgin Mary holding the child lovingly at her neck. She is surrounded by four angels, two on either side of her and the child. The backside of the relief is hollowed out, creating a mould for casting replicas of the image. This relief was given to Donatello’s doctor, Giovanni Chellini, in 1456.
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Donatello is the first and only artist out of the three (himself, Michelangelo and Bernini) to sculpt David where he is standing victorious over the head of Goliath. His first version of David shows a young hero dressed in robes in a somewhat cocky position. His left hand is placed on his hip while he bears a neutral facial expression. The head of Goliath is placed between his feet while he stands in a slight
Where one is a bronze statue with a singular figure, the other is a painting with a central figure, from which the story is built. However, their contrasts go beyond what they are made of, to their different subjects and their complexity. Donatello’s David shows youthful beauty and strength, which he confidently exudes through his body language. Standing with one foot atop Goliath’s severed head while turning his body to balance his weight to the other leg, this statue is a clear example of Contrapposto, which the Greeks invented and introduced into their sculptures. Donatello’s statue of David stands triumphant and proudly atop his trophy, while telling the audience I am the conqueror of Giants. His expression is stern to match his
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
A good deal is known about Donatello's life and career, but little is known about his character. Donatello was born in Florence, Italy in 1386 and died in 1466; he was never married and had no children. He was a master of sculpture in bronze and marble and is considered to be one of the greatest Italian Renaissance artists of his time. The first sculpture is of Donatello?s David, 1425-1430. Its material is bronze and stands 5? 2 ¼? and is currently located at Museo Nazionale del Bargello, Florence. The sculpture is a nude and is contrapposto. The scene being depicted is after the clash with Goliath. Donatello?s statue of David was the first large scale, free-standing nude statue of the Renaissance. The sculpture helps to strike a balance between classicism and the realism by presenting a very real image of a boy in the form of a classical nude figure. Although Donatello was inspir...
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
Donato di Niccolò di Betto Bardi better known as, Donatello, was an artist during the Renaissance art movement. He
Influenced by individualist principles, early Renaissance sculpture was marked by a greater and more meticulous understanding of the human body. Donatello’s David brought to Italian culture a revival of the free-standing nude, prompting an appreciation for perfected human anatomy that is palpable throughout the remainder of the Renaissance and still noticeable in the artistic context of Western culture that follows. The peculiarity of the bronze statue from those of the preceding Middle Ages is archetypically Renaissance in nature; David's pose is nonchalant and his expression pensive, neither of which seems to coincide with the narrative chapter; the Biblical hero's soft body and lack of pronounced muscular development is often interpreted as uncharacteristically effeminate. While the statue’s nudity can be explain in terms of Biblical anthology, as David was said to have refused to wear armor to his battle with Goliath, the accessories in which he is clad seem nonsensical contextually—a laurel on his hat indicates that David was a poet, and the hat on his head is of a foppish Renaissance design. Perhaps most controversially, the statue’s presence has been interpreted as homosexual in nature; while homosexuality was usual in classical antiquity, during the time of the Renaissance such “sodomy” was illicit and believed to be heathen in nature. Donatello show's here, truly, a coalescence of Christian narrative with both the glory of ancient artists and the contemp...
These sculptures presented the body in a way no had ever seen before. Most of the sculptures were very detailed, had Greek and Roman classical influences, and were free standing with the often use of bronze to construct them. A few examples of sculptures are Michelangelo’s David, Moses, and Pieta. His David marble sculpture glorifies the human body and is standing in a contrapposto stance, with more weight on one leg. Contrapposto is very humanistic as it was used a lot by ancient Greek and Roman sculptures. The facial expressions as well were very individualistic and emotional. Michelangelo’s Pieta was the most “perfect” block of marble he had ever used. This sculpture is Mary holding the dead body of Christ before he was placed in the tomb. The proportions of the body are not entirely natural in relation to the other as Mary’s body appears much larger than Christ’s. Michelangelo’s Moses was another example of a sculpture in the Renaissance. This sculpture is very large and shows the power of the man which gave people even more ideas about the
The Biblical Story of David, a young Israeli shepherd boy who slayed the Philistine giant, Goliath has been artistically portrayed in many different ways throughout the centuries. During the Baroque and Renaissance eras, three famous artists sculpted their own interpretation of what the Israelite King may have looked like. These men were Gianlorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni and Donato Di Niccolo di Betto Bardi, otherwise known as Donatello.
Michelangelo’s David does not react with the surroundings but it stands alone with the little movements disguised behind it. The sculpture brings out David as a soldier preparing for war and not a person engaged in a battle (Miller, Vandome, & McBrewster, 2010). The hands are larger than normal and the arms are longer than his body. This is meant to illustrate the renaissance period. In contrast, the Bernini’s David has aspects of motion, showing that he was already engaged in the battle with Goliath. The idea of movement is enhanced by the loosely flowing robes. In addition, the sculpture demonstrates that unlike Michelangelo’s David that has longer hands, Bernini’s David has contracted muscles. The Michelangelo’s sculpture was created during Renascence period while the Bernini’s sculpture was done during the Baroque period.
"" Title="Art History Unstuffed" Art History Unstuffed." Art History Unstuffed RSS. N.p., n.d. Web. 23 Oct. 2013.
One of the ways he did this was by crafting a lot of works: “The world remained so full of his works, that it may be affirmed right truly that no craftsmen ever worked more than he did.” (377) Vasari praises Donatello’s various works throughout the biography. The collection of works that Vasari mentions, suggests that Donatello was more than just a sculptor because he produced and sold many designs. This was similar to a baker or merchant in Renaissance Florence that was constantly selling his or her own product to others. Furthermore, Donatello’s many works were studied and praised by future Renaissance artists. One of the most influential and well known is Michelangelo Buonarroti. At the end of the biography, Vasari leaves the reader with an intriguing quote by Don Vincenzo Borghini that Borghini stated in a book where he collected drawings from esteemed artists. Borghini states that “Either the spirit of Donato works in Buonarroto, or that of Buonarotto began by working in Donato.” (378). Donatello also had other students such as Bertoldo who “he left all his work to be completed by” (377). Donatello inspired and had other students work under him and taught them his craft. Therefore, Donatello inspired Michelangelo and other artists that became famous and excellent artists in their own right. This shows that Donatello left a lasting
Art In European History. “Neo-Classicism and French Revolution – Jacques-Louis David”. Boston College. Web. 5th May 2013.
Jacobsen, Aaron H. Art and Architecture of the Middle Ages. Barbarian Art of Christian Europe, Romanesque Art, Gothic Art.