TIMELINE OF WORLD HISTORY
 

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  Late Gothic & Early Renaissance

Architecture
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Sculpture
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Painting
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Late Gothic & Early Renaissance
 
 
 
Sculpture
 
 
 
Sculpture

Nanni di Banco
Donatello
Agostino Di Duccio
Bertoldo di Giovanni
Mino da Fiesole

Desiderio da Settignano
Filarete
Vecchietta
Andrea Bregno
Pietro Lombardo
Antonio Lombardo
Tullio Lombardo
Giovanni Antonio Amadeo
Francesco di Giorgio Martini
Benedetto da Maiano
Luca Della Robbia
Andrea della Robbia

Bernardo Rossellino
Antonio Rossellino
Antonio del Pollaiuolo
Niccolò dell’Arca
Andrea del Verrocchio
 
 
 
DONATELLO
 
 
 


DONATELLO'S DAVID.

So too is Donatello's bronze David
, an even more revolutionary achievement: the first free-standing lifesize nude statue since antiquity. The Middle Ages would surely have condemned it as an idol, and Donatello's contemporaries must also have felt uneasy about it. For many years it remained the only work of its kind. The early history of the figure is unknown, but it must have been meant for an open space where it would be visible from every side, probably standing on top of a column.

The key to its significance is the elaborate helmet of Goliath with visor and wings, a unique and implausible feature that can only refer to the dukes of Milan, who had threatened Florence about 1400 and were now warring against it once more in the mid-1420s. The statue, then, must be understood as a civic-patriotic public monument identifying Davidweak but favored by the Lordwith Florence, and Goliath with Milan. David's nudity is most readily explained as a reference to the classical origin of Florence, and his wreathed hat as the opposite of Goliath's helmet: peace versus war. Donatello chose to model an adolescent boy, not a full-grown youth like the athletes of Greece, so that the skeletal structure here is less fully enveloped in swelling muscles. Nor does he articulate the torso according to the classical pattern. In fact his David resembles an ancient statue only in its beautifully poised contrapposto. If the figure nevertheless conveys a profoundly classical air, the reason lies beyond its anatomical perfection. As in ancient statues, the body speaks to us more eloquently than the face, which by Donatello's standards is strangely devoid of individuality.



DONATELLO.
David, с. 1425-30. Bronze, height 62 1/4" (158 cm). Museo Nazionale del Bargello, Florence




DONATELLO.
David, (details)




DONATELLO.
David. 1409. Marble, height: 191 cm. Museo Nazionale del Bargello, Florence

 


DONATELLO. David of Casa Martelli
1432-34. Marble
National Gallery of Art, Washington
 


DONATELLO. St Rossore. 1425-27. Museo Nazionale di San Matteo, Pisa




DONATELLO. Pazzi Madonna. 1420-30s. Marble. Staatliche Museen, Berlin




DONATELLO. Annunciation. 1430. Santa Croce, Florence

 


DONATELLO. Faith.
1427-29. Bronze. Baptistry, Siena

DONATELLO. Hope.
1427-29. Bronze. Baptistry, Siena

 


DONATELLO. Funeral Monument to John XXIII. c. 1435. Gilded pietra serena. Baptistry, Florence
DONATELLO.
Funeral Monument to John XXIII (detail). c. 1435. Gilded pietra serena. Baptistry, Florence
 

 

DONATELLO. Funeral Monument to John XXIII (detail). c. 1435. Gilded pietra serena. Baptistry, Florence


 


DONATELLO. Bust of Niccolo da Uzzano. 1430s.
Polychrome terracotta.
Museo Nazionale del Bargello, Florence





DONATELLO. Allegoric Figure of a Boy. 1430s. Bronze. Museo Nazionale del Bargello, Florence
DONATELLO.
Candelabra Angels. 1430s. Bronze. Musee Jacquemart-André, Paris

 
 
 

 
 
 
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