Donatello
Donato di Niccolò di Betto Bard, known mononymously as Donatello, was an Italian sculptor of the Renaissance period.[3] Born in Florence, he studied classical sculpture and used his knowledge to develop an Early Renaissance style of sculpture. He spent time in other cities, where he worked on commissions and taught others; his periods in Rome, Padua, and Siena introduced to other parts of Italy the techniques he had developed in the course of a long and productive career. His David was the first freestanding nude male sculpture since antiquity; like much of his work it was commissioned by the Medici family.
He worked with stone, bronze, wood, clay, stucco, and wax, and used glass in inventive ways. He had several assistants, with four perhaps being a typical number.Ref. ? Although his best-known works are mostly statues executed in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was architectural reliefs for pulpits, altars and tombs, as well as Madonna and Childs for homes.
Donatello, Young Prophet, c. 1406, Museo dell'Opera del Duomo, Florence
Broad, overlapping, phases can be seen in his style, beginning with the development of expressiveness and classical monumentality in statues, then developing energy and charm, mostly in smaller works. Early on he veered away from the International Gothic style he learned from Lorenzo Ghiberti, with classically informed pieces, and further on a number of stark, even brutal pieces. The sensuous eroticism of his most famous work, the bronze David, is very rarely seen in other pieces.
Stiacciato relief style
Donatello became famous for his reliefs, especially his development of a very "low" or shallow relief style, called stiacciato (literally "flattened-out"), where all parts of the relief are low. This contrasted with the developing technique of other sculptors who included very high and low relief in the same composition, with Ghiberti's "Gates of Paradise" doors (1424-1451) for the Florence Baptistery a leading example.
Donatello's "first milestone" in the technique is his marble Saint George Freeing the Princess on the base of his Saint George for Orsanmichele. The figures project slightly forward, but "by skilful overlaps are brought back into a tightly-stretched unified skin-plane which is scarcely broken in surface relief to suggest a deep, though not limitless, space". The relief does not provide a "completely coherent system of perspective" (nor did any Italian work for some five or six years after), but the arcaded hall on the right represents a partial scheme of perspective.
His next major development in this direction was in bronze, still a relatively new medium for him. Ghiberti had been involved from 1417 for a project for the font at the Siena Baptistery; it seems to have been his idea to have six bronze, rather than marble, reliefs, and these were allocated to him, Jacopo della Quercia, and a local father and son team. By 1423 Ghiberti had not even started work, and one relief, The Feast of Herod was given to Donatello instead (the overall subject was the life of John the Baptist).
This is placed low, the bottom at about the level of the viewer's knee, and the relief allows for that. The composition has figures in three receding planes defined by the architecture. At left Herod recoils in horror as he is presented with John the Baptist's head on a platter; to the right of centre Salome is still dancing. In a space behind musicians are playing, and beyond them John's head is presented to two figures, one presumably Herodias. It does not represent a full one-point perspective scheme, as there are two vanishing points, perhaps intended to create subliminal impressions of tension and disharmony in the viewer, reflecting the grisly subject.
Other stiacciato reliefs include The Assumption of the Virgin in the wall-tomb in Sant'Angelo a Nilo, Naples, (1426-1428, see below), the Madonna of the Clouds and Pazzi Madonna, both c. 1425−1430 and domestic pieces respectively with and without a carved background, The Ascension with Christ Giving the Keys to Saint Peter (1428–30), for an unknown location but in the Medici collection by the end of the century, and a small Virgin and Child (perhaps 1426, probably by his workshop).
At all times Donatello and his workshop made more conventional reliefs, at a variety of depths and sizes, and in different materials.
Saint Mark, Orsanmichele, 1411–13
Bearded Prophet, for the campanile, 1418–20, Museo dell'Opera del Duomo
Il Zuccone, for the campanile, 1426–c. 1427 and 1435–36, Museo dell'Opera del Duomo
