Donatello

Donatello, real name Donato of Niccolo di Betto Bardi (Florence, 1386 - Florence, December 13, 1466), was an Italian sculptor, painter and goldsmith

With his long career, he was one of the three fathers of the Florentine Renaissance, along with Filippo Brunelleschi and Masaccio, as well as one of the most celebrated sculptors of all time. He made a fundamental contribution to the renewal of the sculpture's ways, definitively setting aside the experiences of the late Gothic and overtaking the models of classical Roman art, with the expression of a new and restless expression that pervades his best works. Invented the "stitched" style, based on minimal millimeter thickness variations, which does not prevent the creation of an illusory space , And mastered the most varied techniques and materials (marble, serene stone, bronze, wood, terracotta) He also devoted himself to drawing, providing models, for example, to some stained glass of the Florence Cathedral

Particular was his ability to infuse humanity and psychological introspection to works, often with dramatic accent or energy and vitality retained but perfectly visible

Born in Florence in 1386, son of Niccolò di Betto Bardi, woolen carder unrelated to the Bardi family comedy. His was a modest family: his father, restless, led a tumultuous life, having first participated in the revolt of the Ciompi of 1378 And then to other actions against Florence, which led him to be condemned to death and then forgiven with the condemnation of the punishment; A very different character from his son so minute, gentle, elegant and delicate enough to be led by the name of Donatello According to Vasari, the young man was educated in the house of Roberto Martelli

The first documented mention dates back to 1401, when Pistoia was reported to be unfortunate enough to have beaten a German named Anichinus Pieri, causing rather serious injuries. There was a conviction that in the event of recurring recurrence he would have led to a fine money laundering There are no other episodes of violence involved, although in many anecdotes of the biographers a rather passionate temper is passed. The presence in Pistoia could be related to the work of young Filippo Brunelleschi and the workshop of Lunardo di Mazzeo and Piero di Giovanni for l 'Altar of San Jacopo, perhaps in the role of garzone-apprentice

A training as a goldsmith, then very common for anyone wishing to undertake any artistic career, is supported only by evidence such as this and is unsafe. In 1402, until 1404, he was in Rome with Brunelleschi, his eldest of about ten years , To study the "ancient" An intimate relationship of friendship between the two was established and the roman residence was crucial to the artistic events of both. They could observe the copious ancient remains, copy them and study them for inspiration. Vasari tells how the Two wandered in the deserted city in search of "pieces of capitals, columns, frames and building stands," digging when they saw them coming out of the ground. The rumors began to circulate soon and the couple were called to enjoy "treasure" Since it was thought that they dug in search of buried treasures, and indeed in some occasions they found precious materials such as some camomile or hard stone intag Greasy or even a jug full of medals

In 1404, Donatello had already returned to Florence alone, to collaborate in the workshop of Lorenzo Ghiberti until 1407, to create wax models for the northern gate of the Baptistery. This paid activity, linked to metal processing, also made suppose Knowledge of the rudiments of goldsmith's activity In 1412, a note in the register of the corporation of painters indicates it as "goldsmith and stonecutter"

Donatello's first artistic works gravitate around the two largest sculptural decoration yards in Florence at that time: the Duomo, in particular the facade and the gate of the Almond, and the niches of Orsanmichele

His first documented work is the pair of Prophets paid in 1406 and 1408, which was generally identified with the two statues that were placed on the Gate of the Almond and now in the Museum of the Opera of the Cathedral These two works are however very different in style And one does not even look like a prophet but is like an angel One of the two is now commonly attributed to Nanni di Banco, with whom Donatello could have started an artistic association, committing himself to collecting for his work, what's more Which unusual in the craft shops of the time

Following the attribution of the marble David to the Bargello Museum, always for the Opera of the Duomo of Florence, carved in 1408-1409 for the tribune of the choir of the Duomo, from 1416 to Palazzo Vecchio The work is in full size and shows a Remarkable artistic ability, despite the still-Gothic-inspired posture and some proportional errors

Between 1409 and 1411 he executed the San Giovanni Evangelista for a niche located at the side of the central portal of the Duomo, with three other evangelists the San Marco of Niccolò di Pietro Lamberti, San Luca di Nanni di Banco and San Matteo by Bernardo Ciuffagni Donatello, in his evangelist, reacted to late-gothic mannerism, not only relying on the noble composure of ancient statuary, but by searching for passages of authentic humanity and truth: the face of the saint with his crowned forehead (perhaps taken up by a Jupiter Capitol's head) was still based On the idealization, the shoulders and the bust were geometrically simplified according to a semicircular skirt, in the lower parts of the figure the stylization curtailed for the benefit of greater naturalness: the hands were realistic and the skirts that wrap their legs exhaled their limbs without hiding them; The statue with its force of retaining force was an important model for the Moses of Michelangelo

Very controversial is the dating of the "peasant" crucifix of Santa Croce, at the center of a curious anecdote narrating by Vasari nelle Vite, which recorded an artistic competition with Filippo Brunelleschi. Today it is generally placed among the young works carved between 1406 and 1408 Before his trip to Rome, due to his dramatic expressivity, Others place him in 1412 or even deny the paternity to the great sculptor, but arguing less convincing and openly opposed to Vasari's testimony than to some stylistic elements

Brunelleschi reproached his friend for having put a "peasant" on the cross, devoid of solemnity and of proportional beauty that made himself a sacred subject. Challenged to do better Brunelleschi sculpted the Crucifix of Santa Maria Novella, set according to a studied gravitas, The sight of which Donatello was so impressed that he dropped the eggs he was carrying in his lap

The comparison between the two crucifixes is exemplary to show the personal differences between the two fathers of the Florentine Renaissance, who despite the intent of communion had very different personal artistic conception of art, if not sometimes opposed. The Christ of Donatello is built by emphasizing the suffering and The human truth of the subject, perhaps in accordance with the demands of the Franciscans. The suffering body is composed of an energetic and vibrant model, which does not allow for aesthetic convenience: agony is underlined by the contractual features, the mouth open, the eyes Semi-open, unformed composition

From 1411 he worked on the niches of the church of Orsanmichele, surely creating two statues, San Marco (1411-1413) and San Giorgio (1415-1417), for as many arts of Florence as they had the task of providing for external decoration With statues of their patron saints Vasari reports to Donatello also St. Peter, but stylistic dissonances tend to attribute the work to Filippo Brunelleschi

San Marco was commissioned by the Art of Linaioli and Rigattieri and is considered to be the first Renaissance sculpture in the artist's journey, although the restoration has rediscovered superficial gildings of rather gothic taste. Unmistakable is the force pervading from the gaze and the likelihood Devoid of rigidity, which became one of the most appreciated features of Donatello's art

These features are even more developed in San Giorgio, an absolute first masterpiece, where a few small details (compass of the compass legs, firmness of the bust shielded to the shield, snap to the left of the head) fully transmit an idea of ​​retained energy as if The figure could move from one moment to the next

In the relief at the base of the tabernacle, San Giorgio frees Princess Donatello inserted the first known example of striated and the oldest representation of a background set according to the rules of the central perspective to single point of escape, theorized in 1416 by Brunelleschi But if Brunelleschi's perspective was simply a way of organizing the space around the figures, for Donatello, who centers on the escape point on the figure of St. George, it is a way to highlight the center of action, as if the figures were to generate space

A third statue for Orsanmichele, no longer in place since 1459, is the San Ludovico of Toulouse (1423-1425) in bronze gilded, today at the Museum of the Holy Cross Opera. It was destined to the tabernacle of the Guelfa Part, then surrendered to the Tribunal of Merchant that placed the Incredulity of St. Thomas of Verrocchio, but the Corinthian niche is the original one of Donatello and aid, among which probably Michelozzo. The work, not particularly loved by a part of criticism from Vasari, is Important for the recovery of the lost wax casting technique, which was first used here by Donatello in a large opera, although he carefully crafted several separate pieces and then assembled. Over time, the use of this technique for Donatello became Growing, becoming almost exclusive in the years of maturity

From 1415, immediately after the end of San Marco, Orsanmichele Donatello was recruited again from the Opera of the Duomo, to attend the sculptural decoration of Giotto's Campanile, which at that time had reached the niches of the third level. The west and south sides were Already finished by Andrea Pisano and his collaborators in the previous century, so we devoted ourselves to the east side, that towards the apses

In 1408 Nanni di Bartolo, a collaborator of Donatello, had already carved a bearded Prophet (now no longer identifiable) so that the next statue was entrusted to Donatello and was the Prophet imberbe (1416-1418), followed by the thoughtful Prophet and the Sacrifice of Isaac (1421) These works demonstrate how Donatello was inclined to emphasize a strong realism and a profound expressive intensity in his sculptures, as well as his mastery of optical techniques to bring the statues at a remarkable height from below. The best succeeded Of the group is the Sacrifice of Isaac, where the two figures, closely joined, are composed according to a vibrant dynamism given by the twist of their bodies, which also emphasize the exact moment in which Abraham receives the intimation of the divine angel to stop as He seems to point his gaze upward

The decoration on the north side, the worst because it was hardly visible as it was close to the wall of the cathedral, started a little later, from 1420 to 1435 For this part, Donatello, now full of his artistic abilities, carved two masterpieces Like the Zuccone (the Prophet Abacuc from 1423) and Jeremiah (in 1427). In these statues Donatello enjoyed an extraordinary psychological penetration, both in the highly expressive faces and in the attitude of the body, underlined by a deep and majestic dress for the First, vibrant and vibrant for the second, highlighting their inner torments

At the end of the work, the Workers of the Duomo were so pleased with the works that placed them on the west side, the most important being parallel to the facade, moving the oldest ones of Andrea Pisano and shop

The Marzocco of the piazza della Signoria dates back to 1418-1420 Also in the figure of the Florentine hereditary Donatello, who here experienced the sculpture of serene stone, learned to infuse a great majesty through the chiaroscuro effects in the contracted face and through the gesture, calm and solemn , To put the paw on the shield

In 1423, as he was working with the Prophets for the bell tower, Donatello received a first important commission outside Florence, being invited to participate in the baptismal font decoration in the Baptistery of Siena, along with six other artists including Lorenzo Ghiberti and Jacopo della Oak tree

For this commission he provided the bronze panel of the Banquet of Herod by 1427, which particularly pleased the clients, who immediately gave him the task of realizing the two full-length statues of Faith and Hope (1427-1429)

Towards 1426 Donatello fused the tomb slab of Giovanni Pecci to the Siena Cathedral, in bronze

Returning to Florence, in 1424-1427 he created the San Rossore Reliquary, a golden bronze opera that revolutionized the medieval tradition of relics, creating a true "portrait of the Roman" portraiture, with distinct and individual features and with a subtle workmanship , Well visible in the care of details such as hair, beard, fabric texture and soldier armor

In 1425 he started the bottlenecks between Donatello and Michelozzo, which lasted for almost all the thirties, with a number of important works realized in co-operation Michelozzo was about ten years younger than Donatello and was a good sculptor and architect. Donatello was already an undisputed master of sculpture. Moreover, Michelozzo had a less stingy character than his colleague, so he usually devoted himself to the resolution of daily matters related to social issues. In the 1427 cadastre Michelozzo made the denunciation of income for himself and for Donatello Document are revealed the age of the sculptor (41 years) and facts of his private life as the information he lived with his mother, sister and son and that he was late for two years for the payment of rent

From 1425 to 1427 Donatello collaborated with Michelozzo at the funeral monument of antipope John XXIII, Baldassarre Coscia, in the baptistery (1425-1427); Surely Donatello is the bronze figure of the deceased lying beneath a shell enclosing a Madonna with the Child, the upper part is framed by an open canopy, while below it is a plate with reliefs of winged genes and the name and charges of the deceased , Even more than three reliefs depicting the Virtues. In the same period there are also the monuments for Cardinal Rainaldo Brancaccio (sent by sea to the church of Sant'Angelo in Nile in Naples) and that for Bartolomeo Aragazzi, in the Duomo di Montepulciano (preserved only in fragments)

The relief of the Assumption of the Virgin in the tomb Brancaccio is a perfect example of streaky, rich in expressivity and vibrant energy At the end of the 1920s and the middle of the thirties are attributed to them various similar reliefs in technique and stylistic rendering, although in some Cases the attribution is uncertain

Among them are the Baptism of Christ for the baptismal font of the Cathedral of Arezzo (post 1425), the delivery of the keys, perhaps in the Brancacci Chapel in Florence (circa 1430), Madonna Pazzi di Berlino (1425-1430) and Madonna delle Clouds of Boston (circa 1430)

In July 1428, Donatello and Michelozzo received another important assignment for the creation of the external pulpit for the Duomo of Prato, to be used for public relics of the Sacred Cingolus. A first contract was signed by Michelozzo on behalf of both and you A deadline for the work was expected within 15 months, a clause that was greatly sought after, since they continued, despite the repeated protests of the buyers, until most of the 1930s. Now it almost unanimously tends to attribute to Michelozzo the entire architectural part and In Donatello the relief of dancing pats, at least in the drawing, since sculpture is not always up to the master's hand and was probably made with the help of various aids

In this long period, the two artists were also occupied by many other assignments and also found time to make a long trip to Rome In the fall of 1432 Donatello was surely in the papal city when a letter was sent to convince him to return from the clients In Rome Donatello and Michelozzo worked safely at least two works: the tombstone of Giovanni Crivelli in Santa Maria in Aracoeli (1432) and the Tabernacle of the Sacrament (1432-1433) today in the sacristy of the Beneficiates in St. Peter in the Vatican Recentissima (2005 ) Is the discovery and presentation of another work of the Roman period, the Virgin with two crowns and cherubs, which would be the fragment of a lunette from the tomb of St. Catherine of Siena in the basilica of Santa Maria sopra Minerva, where many artists worked

Threatened to be sanctioned with a fine, Donatello returned to Florence in May 1433, dedicating himself to numerous incomplete works, including the Prophets of the Campanile

The pulpit pads date back to after the trip (a new contract was originally signed in 1434) and features elements of the early Christian and Romanesque tradition, such as the mosaic background. The frenetic scenes of dancing pats were probably inspired by ancient sarcophagi with Dionyssian scenes (two fragments Perhaps studied by Donatello are now in the Uffizi), but they also had a biblical value illustrating Psalms 148-150 where they are invited to praise God by choirs and children's dances The reliefs were mounted in the summer of 1438 and in September Paid the payment to Donatello

After the completion of the pulpit, the traces of collaboration between the two artists are lost: Michelozzo began to devote himself increasingly to architecture, becoming the architect of Cosimo the Elder in the 1940s; For Donatello, however, the long period of the apotheosis of his artistic career opened uninterruptedly
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