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Donatello Timeline

Donatello Timeline


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  • c. 1386 - 1466

    The life of the Italian Renaissance artist Donatello.

  • c. 1386

    The Italian Renaissance artist Donatello is born in Florence.

  • 1401

    The Italian Renaissance artist Donatello is involved in a fight with a German youth in Pistoia.

  • 1404 - 1407

    The Italian Renaissance artist Donatello is an apprentice or assistant to Lorenzo Ghiberti.

  • 1408 - 1412

    The Italian Renaissance artist Donatello produces several sculptures for the cathedral of Florence.

  • c. 1415

    The Italian Renaissance artist Donatello completes his sculpture of Saint George for the Orsanmichele in Florence.

  • 1420 - 1450

    The Italian Renaissance artist Donatello sculpts his bronze David in Florence.

  • c. 1425

    The Italian Renaissance artist Donatello completes his Saint Louis of Toulouse for the refectory of the San Croce church in Florence.

  • 1425 - 1429

    The Italian Renaissance artist Donatello works on his panels for the baptistery of Sienna.

  • 1425 - 1434

    The Italian Renaissance artists Donatello and Michelozzo di Bartolomeo share workshops in Pisa and Florence.

  • 1446 - 1453

    The Italian Renaissance artist Donatello creates his bronze panels for the high altar of the Basilica Sant’ Antonio in Padua.

  • c. 1453

    The Italian Renaissance artist Donatello completes his equestrian statue of Erasmo da Narni, the Gattamelata (‘honeycat’) in Padua.

  • c. 1456

    The Italian Renaissance artist Donatello sculpts his wooden statue of a penitent Mary Magdalene.


Donatello Timeline - History

Zuccone is a statue that was created by Donatello for the Florence Cathedral in 1423-1425. This sculpture is made of marble and Zuccone is otherwise known as Prophet Habbakuk.

Background

While Donatello was creating the Zuccone statue, he said “speak, speak”, as if he was expecting the statue to come to life.

Appearance

This statue has intricate details that show the layers and ruffles in all of the robes that Habakkuk is wearing. These details make it appear as though the sculpture can come to life. Zuccone has a long robe covering one side of his body that ties to the side. His right arm is showing and he has no hair on his head. His head is facing forward, but is slightly tilted down. The feet of Zuccone can be seen at the bottom of his long robes, which is where the sculpture ends. It is one of the statues that Donatello enjoyed the most.

One response to “Zuccone”

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The Complete History of Teenage Mutant Ninja Turtles

If you were a kid in the 1980s or 90s, you probably spent some time reading, watching, or playing with four adolescent reptilian martial arts experts with irregular DNA. To make sure I got the scoop on everyone’s favorite pizza-obsessed heroes in a half-shell, I went straight to the source—co-creator Peter Laird—who was kind enough to answer our burning questions about the franchise. If you're looking for a thorough history of the Teenage Mutant Ninja Turtles, this is a pretty good place to start.

From a Simple Sketch

Struggling artists Kevin Eastman and Peter Laird were living in Northampton, Massachusetts, when they came up with the Turtles in November 1983. As a joke, Eastman drew a turtle standing on its hind legs, wearing a mask, with nunchucks strapped to its arms. Eastman wrote “Ninja Turtle” on the top of the page. Laird laughed and then drew a more refined version of the turtle.

Not to be outdone, Eastman drew four turtles, each armed with a ninja-style weapon. Laird outlined the group shot in ink and added “Teenage Mutant” to the “Ninja Turtles” title.

As Eastman and Laird began fleshing out the Turtles to create a comic book, they had to give the Turtles names. At first they tried Japanese names, but it just wasn't working. So they tried great Renaissance artists instead – Leonardo, Raphael, Donatello, and Michelangelo. Laird told me, “It felt just quirky enough to fit the concept.”

In May 2012, that original drawing of the Turtles sold at auction for $71,700.

The Daredevil Connection

There are many aspects of the Turtles that are a nod to Marvel Comics’ superhero Daredevil. For example, Splinter, the Turtles’ father figure and sensei, is an homage to Daredevil’s sensei, Stick. The Foot Clan is a take-off of the ninja clan in Daredevil known as The Hand. However, the coolest connection is that the Turtles and Daredevil seem to share the same origin story.

In Daredevil #1, Matt Murdoch sees a truck barreling down on an old man, so Murdoch knocks the man out of the way. As the truck swerves, a canister flies out the back and strikes Murdoch in the face. The canister is filled with a radioactive substance, which blinds Murdoch, but enhances his other senses to super-human levels. Later, he uses his heightened senses to fight crime as Daredevil.

For the Turtles' origin, the same scenario plays out, except the canister bounces off the boy’s head and smashes into a bowl of baby turtles, who fall, along with the canister, into an open manhole. Splinter finds the turtles crawling around in a viscous fluid seeping out of the broken canister, which is the mutagen that turns the Turtles and Splinter into human-sized heroes.

First Time's a Charm

In March 1984, Eastman and Laird created a new company, Mirage Studios, so named because there was no actual studio other than Laird’s living room. Then, Eastman used his $500 tax return, Laird emptied his bank account of $200, and they borrowed $1300 from Eastman’s uncle to print 3,000 copies of their first comic book, Teenage Mutant Ninja Turtles. After printing costs, they had just enough money left to run an ad in Comics Buyer’s Guide Magazine, an industry publication.

Thanks to that one ad, comic distributors across the country started calling, and Mirage sold all 3,000 copies within a few weeks. With more orders coming in, they printed another 6,000 copies and easily sold through those, too. By May, they’d made enough money to pay back Eastman’s uncle and split a roughly $200 profit.

Although the comic was meant to be a “one-shot,” a single issue, self-contained story, they realized they might be on to something. So, in January 1985, they completed issue #2 and quickly received orders for 15,000 copies, which was so successful that distributors demanded 30,000 reprints of #1, and even more of a second print of #2. #3 fetched orders totaling 50,000 copies, and sales continued to climb, peaking at issue #8, which sold 135,000 copies thanks to a guest appearance by Dave Sim’s character Cerebus, a barbarian aardvark.

The first issue of the comic originally sold for $1.50. But if you’re looking for a first-print copy of TMNT #1 today, it'll cost you in the neighborhood of $2,500 - $4,000.

The Comic Books

TMNT ran under the Mirage Studios banner from 1984 – 1995 for 75 regular issues, as well as dozens of mini-series, one-shots, and limited series spin-off titles.
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Archie Comics used the cartoon Turtles for 72 issues of Teenage Mutant Ninja Turtles Adventures, which ran from 1988 – 1995.
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The Mirage Turtles moved to Image Comics in 1996 for 13 issues and a mini-series, before being canceled in 1999. While at Image, the series took some odd turns: Splinter became a bat, Donatello changed into a cyborg, Leonardo lost a hand, and Raph became the new Shredder.
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When Peter Laird brought the Turtles back to Mirage in 2001, he completely ignored the Image years and they are no longer considered part of the TMNT canon. His new series ran until 2010 with 30 issues in print, and #31 available only online. Although the series was not officially concluded, Laird has no immediate plans to publish more.
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Since August 2011, publisher IDW has been running a new TMNT comic, featuring artwork from co-creator Kevin Eastman.

Going Soft

The original Mirage comic book really wasn’t made for youngsters. The Turtles diced up enemies while spouting the occasional curse word, and one of the Turtles’ allies was hockey mask-wearing vigilante Casey Jones, who beat down even low-level crooks with baseball bats and hockey sticks. But when Playmates Toys expressed interest in producing TMNT action figures in 1986 (we'll get to those), the comic’s PG-13 attitude wouldn’t fit Playmates' 4-8 year old target audience. In addition, part of Playmates’ marketing was an animated cartoon, which had to pass television censors. So to make the Turtles viable for the younger set, the Turtles had to soften up.

Among other changes, the Turtles became wise-cracking jokers obsessed with pizza, the Shredder became a typical bumbling cartoon villain, members of the Foot Clan were now robots so parents wouldn’t complain that the Turtles were too violent, and instead of “Damn,” the Turtles shouted easily-marketable catchphrases like, “Turtle Power!” and “Cowabunga!”

Perhaps the most defining change was the Turtles’ costumes. In the comic, the interior artwork was in black-and-white, but the color covers showed the Turtles all wearing red masks the only way to tell them apart was by their specialty weapon. In an effort to de-emphasize the weapon-as-identifier, each character was given his own signature color, displayed on the mask and elbow/knee pads – blue for Leonardo, orange for Michelangelo, red for Raphael, and purple for Donatello. In addition, they wore belt buckles with their first initial.

Difficult Decisions

As owners of the franchise, Eastman and Laird had the final say on changes to their creations. However, neither of them was thrilled about the concessions made.

As Eastman said in a 1998 interview for The Comics Journal, “The resolution at the end of the day, even when Pete and I both agreed that, well, there’s some stuff we really don’t like, and some stuff that we wish we hadn’t said yes to, stuff that they wanted to do…But we said…we’ll always have our black-and-white comics to tell the kind of stories we want to tell.”

To this day Laird makes no bones about how unhappy he is with many aspects of the “softened” Turtles. In March 2012, Laird said this on his blog:

“…had I (again, speaking solely for myself and not for Kevin) been making the key creative decisions for that first animated series, it would have been VERY different. Among other things, there would likely have been no moronic henchmen like Bebop and Rocksteady. The Shredder would have been seriously malevolent. April would not have been a reporter and constantly need to be rescued by the Turtles. The Turtles would not have been so ridiculously obsessed with pizza, and the Shredder would not have had as one of his businesses a restaurant called ‘Ninja Pizza’…And the show would not have had a joke or gag every five seconds.”

The Cartoons

Before Playmates would commit to a full toyline for the Turtles, they tested the waters with a five-part cartoon mini-series. It debuted in December 1987 and had to be aired three times before it finally found an audience. Once it gained traction, Playmates ordered more episodes, and the show stayed on the air from 1988 – 1996 for a total of 188 episodes in the regular series.

The show featured the voice work of many top performers.

Raphael was played by Rob Paulsen, who would later voice Pinky and Yakko Warner on Animaniacs, as well as hundreds of other animated characters.
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Townsend Coleman played Michelangelo and later voiced the animated version of The Tick, another indie comic that went mainstream.
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Cam Clarke was a veteran anime dubber before he voiced Leonardo. Clarke later starred as Kaneda in the English dub of the anime classic, Akira.
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Donatello was voiced by actor Barry Gordon, whose resume includes parts on Leave It to Beaver, Archie Bunker’s Place, and many animated TV series, like Swat Kats and Pole Position.
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Oh, and The Fresh Prince’s uncle, James Avery, starred as the voice of the Shredder.

Eastman and Laird were sued for $5 million by Buffalo Bob Smith, host of the Howdy Doody Show, because he claimed they stole “Cowabunga!” from his program. The word was first used as the catchphrase greeting of a Native American character named Chief Thunderthud, however it had been adopted by surfers in the 1960s. After a few months of legal wrangling, Smith settled for $50,000.

The Turtles returned in an animated series produced by 4Kids Entertainment, which ran from 2003-2009. This time, co-creator Peter Laird had an active hand in the production, which resulted in a series that was much closer to the original comic book.

In 2000, Eastman sold his stake in the Turtles to Laird, who in turn sold the rights to Viacom in 2009. A few years later, in 2012, Viacom, through its subsidiary Nickelodeon, released a new CGI cartoon that is now into its second season, with a third season set to debut next year. The cartoon has been quite a hit, regularly ranking in the top 5 animated shows for kids ages 2-11.

The cast for the new show features some big stars, including Jason Biggs as Leonardo and Sean Astin as Raphael. Rob Paulsen (who played Raphael in 1988) is Donatello this time. Greg Cripes, best known as Beast Boy on the popular cartoon Teen Titans, plays Michelangelo, and Mae Whitman of Parenthood and Scott Pilgrim is April O’Neil.

The Action Figures

Before TMNT, Playmates Toys made almost exclusively dolls and plastic playsets for toddlers. But they were looking to get into the lucrative action figure market, so when TMNT's license manager Mark Freedman approached them, it was a perfect match.

From 1988 – 1997, Playmates produced around 400 TMNT figures, as well as dozens of vehicles and playsets. For the first four years of Turtlemania, about $1.1 billion worth of toys were sold, making the Turtles the #3 top-selling toy figures ever at the time, behind only G.I. Joe and Star Wars.

Thanks to the Nickelodeon cartoon, the Turtles are back on toy shelves again. In addition to toys, you can find our heroes in a half-shell on nearly every conceivable piece of merchandise possible, from birthday party supplies to beach towels to lunch boxes and toothbrushes. Looks like Turtlemania is here to stay.

Although nearly all of the Turtles toys have been produced by Playmates, one exception has been LEGO, which started licensing the franchise in 2013. LEGO released two exclusive mini-figures during 2012’s New York Comic-Con - a battle-damaged Kraang figure, as well as an all-black Turtle known as “Dark Leonardo.”

The Movies

In 1990, the Turtles hit the big screen with the live-action film Teenage Mutant Ninja Turtles. With a budget of $13.5 million, the film raked in over $200 million at the worldwide box office.

Director Steve Barron made some of the biggest music videos of the MTV-era. His resume includes Michael Jackson’s sidewalk-lighting “Billie Jean,” the sketchy world of A-ha’s “Take On Me,” and the computer animated workmen in Dire Straits’ "Money for Nothing."

The Jim Henson Creature Shop used a state-of-the-art control system called “puppetechtronics” to bring the Turtle costumes to life. To create facial expressions, a single puppeteer would use a joystick for the eyes, an electronic glove to work the jaws, and a headset with infrared sensors tracking the puppeteer’s face to work the lips.

The cast included Elias Koteas as Casey Jones, Corey Feldman as the voice of Donatello, Kevin Clash (better known as the former voice of Elmo) as Splinter, and a small, early role for Sam Rockwell, star of 2009’s critically-acclaimed Moon.

Tatsu, the Shredder’s second in command, was played by Toshishiro Obata, a real-life martial arts expert. He has actually created his own style of Japanese swordsmanship called Shinkendo, which is currently being taught in 90 dojos across the world.

The film spawned two sequels — 1991’s Secret of the Ooze and 1993’s Teenage Mutant Ninja Turtles III — both of which performed to diminishing returns at the box office, earning $78 million and $42 million, respectively.

The appearance by Vanilla Ice and his “Ninja Rap” in Ooze is not to be missed.

In 2007 came the computer-animated film TMNT. The cast included Chris Evans (Captain America), Crouching Tiger, Hidden Dragon beauty Zhang Ziyi, Kevin Smith, Sarah Michelle Gellar, Patrick Stewart, and Laurence Fishburne. On a budget of $34 million, the film made $95 million at the box office.

The Turtles returned in 2014 as a live-action film directed by Jonathan Liebesman (Battle: Los Angeles, Wrath of the Titans) from producer Michael Bay. The production has been troubled, starting with Bay’s remarks in 2012 that the film would be called simply Ninja Turtles, and that the Turtles would be aliens from another planet. Fans were not happy, but Bay’s dismissive response was simply, “Take a chill pill.”

However, the negative feedback was enough for Bay to eventually put the project on hold for a rewrite. With a new script, and the addition of Teenage Mutant to the title, the film began shooting in April 2013 with stars Megan Fox as April O’Neil, William Fichtner as The Shredder, and Will Arnett as cameraman Vernon Fenwick. The Turtles and Splinter are CGI creations, but their voices and movements are being portrayed by relatively unknown actors Pete Ploszek, Alan Ritchson, Noel Fisher, Jeremy Howard, and Danny Woodburn, best known as Kramer's friend Mickey on Seinfeld.

Teenage Mutant Ninja Turtles Official Trailer #2

In the trailers that have been released, the Turtles appear much larger than in previous iterations, and they have a more human-turtle hybrid appearance, which has been met with mixed reactions from fans. The film is set for an August release.

Movies That Never Were

Image credit: Peter Laird

A live-action film called TMNT: The Next Mutation began pre-production in 1994, but was never made. In the movie, the mutagen in their bodies would have affected the Turtles’s physiology. According to Laird, Leonardo could change his skin into a “nearly impenetrable chrome-like surface.” Michelangelo could project human features onto his body, allowing him to blend into the surface world. Donatello gained psychic powers, but at the cost of his eyesight. Raphael morphed into “Raptor Raph,” a monster with long, sharp teeth and foot-long claws. And Splinter would have the ability to change into a giant, muscled “super rat mutant” creature.

According to Eastman and Laird, in the early days of the comic book, Roger Corman’s New World Pictures approached them about a comedy adaptation using contemporary stand-up comics Gallagher, Sam Kinison, Bobcat Goldthwait, and Billy Crystal, dressed in turtle shells and green face make-up.

Another, unrelated project was an R-rated film that would have featured roller-skating, semi-nude nuns with Uzis, battling the Turtles.

The Video Games

The Turtles have been featured in 23 arcade and home video games since 1989, on just about every console and computer system imaginable. Their self-titled debut is one of the best-selling NES games not made by Nintendo, with roughly 4 million copies sold, despite also being considered one of the toughest games for the NES.

Turtles on Tour

In 1990, Pizza Hut sponsored the Coming Out of Their Shell Tour, a stage musical that featured the Turtles as a rock band. The show debuted at Radio City Music Hall, then set out on a 40-city tour across the country. However, if you missed the show, a live recording, as well as a making-of special, were available on VHS.

The soundtrack was in record stores, but you could also get a copy at Pizza Hut, free with the purchase of any large one-topping pizza and a commemorative collector’s cup.

The Fifth Turtle

Eastman and Laird heard more than once that, “If four Ninja Turtles are good, then five Ninja Turtles must be better!” Although they resisted the idea, the duo did come up with a fifth Turtle concept that almost came to be.

For the never-produced fourth Turtles film, they created Kirby, named after their idol, Jack Kirby, a legendary comic book artist who helped develop The Avengers, Fantastic Four, X-Men, and other iconic superheroes. The character would have been introduced via a magic crystal that could bring drawings to life. Concept art of Kirby, which recently sold for $500 at auction, shows he was a somewhat savage-looking Turtle with striped skin and four fingers instead of three.

The “more the better” attitude won out on Ninja Turtles: The Next Mutation (no relation to the unproduced film), a live-action TV series that ran from 1997 – 1998. The show was produced by Saban Entertainment, the people behind Mighty Morphin Power Rangers, and featured the same cheesy, rubber-suited production values. The series introduced Venus de Milo, a female ninja turtle, complete with shell breasts. She was retconned onto the show as being a previously unseen fifth turtle in the bowl.

The show was not a hit with fans and even less so with Laird. When I asked what Turtles merchandise he now regrets, his response was, “The only licensed product that I truly regret is…Ninja Turtles: The Next Mutation.”

Turtle Controversies

As harmless as the 1988 cartoon series was, it was still heavily edited for broadcast in the UK and much of Europe. Due to more stringent censors, many of the action sequences had to be trimmed so that the Turtles weren’t seen using weapons too often. Poor Michelangelo suffered the worst in the UK, nunchucks are restricted, which meant his fight scenes were cut and replaced with him using a grappling hook instead. The name of the show was even changed to Teenage Mutant Hero Turtles, because the word “ninja” had a violent connotation.

In 1990, some 250,000 turtles were imported into Britain to feed the demand of young Turtles fans who wanted them as pets. For only a few pounds, kids could easily buy a small turtle, not knowing that it would grow to be the size of a dinner plate. When the kids no longer wanted to take care of the animals, they were often dumped in rivers and ponds, where they devastated native ecosystems. The problem became so severe that the European Union banned the sale of the most popular breed, red-eared terrapins, in 1997.

The Turtles came under fire from the American Farm Bureau (AFB) in 1991, when they starred in the Random House book Teenage Mutant Ninja Turtles ABCs for a Better Planet. The book covered environmental issues, including a statement saying some animals are injected with cancer-causing artificial growth hormones, and that much of the world’s grain goes to feeding cattle, rather than to starving people. In addition, there was mention of pesticides that can remain in fruits and vegetables even after they get to the supermarket. The Farm Bureau responded by saying they were concerned that the publisher “would stoop to using a children’s publication to advance such a biased and incorrect view of American agriculture.” It’s unclear if pressure from the AFB was the cause, but the book was never reprinted.

One episode of the 4Kids cartoon series, “Insane in the Membrane,” was so dark it was pulled just before it aired in America. The Shredder has tortured scientist Baxter Stockman by slowly dismembering him. So Stockman creates a clone and transplants his consciousness into it. However, his new body decomposes, exposing muscle and bone, and he is forced to sew fallen body parts back on.

Thanks again to Peter Laird for his cooperation. For more TMNT history than you can shake a nunchuck at, check out his blog. A slightly shorter version of this post appeared in 2012.


Donatello

Born Donato di Niccolò di Betto Bardi around 1386, Donatello was an influential painter and sculptor, known for his work with bas-relief and for works that appeared on many important public and religious buildings in the city. Some of his major works in Florence are the Magdalene Penitent (formerly in the Baptistery and now in the Museo di Duomo), the bronze David (now in the Bargello), and statues in the niches of Orsanmichele and the campanile, the Duomo’s bell tower.

Some of his major works in Florence are the Magdalene Penitent (formerly in the Baptistery and now in the Museo di Duomo), the bronze David (now in the Bargello), statues of St. George, St. Mark, and St. Louis of Toulouse, the originals of which were in the niches of Orsanmichele but have since been moved to other locations, with duplicates or replacements now in their original places. He also provided statues for the Duomo’s campanile, including Abraham and Isaac and Zuccone (“baldy” or “squash head”), both of which are now in the Museo dell’Opera del Duomo.

Donatello died in 1466 and is buried in the Church of San Lorenzo, next to Cosimo the Elder.


Contents

After Erasmo of Narni's death in 1443, according to John Julius Norwich, the Republic of Venice, as a sign of gratitude and respect, paid for a sculpture in his honor. (This payment has been disputed. See below.) Measuring 340 x 390 cm (the base measuring 780 x 410 cm), [2] it is the earliest surviving Renaissance equestrian statue and the first to reintroduce the grandeur of Classical equestrian portraiture. [3] After its conception, the statue served as a precedent for later sculptures honoring military heroes for their continued effort in the wars. [4]

The statue, as were all bronze statues of this time, was made using the lost wax method. The statue sits on a pedestal, and both the condottiero and his horse are portrayed in life size. Instead of portraying the soldier as larger-than-life, as in the classical Equestrian Statue of Marcus Aurelius in Rome, where a sort of hierarchy of size demonstrates the subject's power, Donatello used emotion, position, and symbolism to convey the same message. Thus, Donatello makes a statement of the power of the real-life individual he does not need to embellish or make grander whom Gattamelata was – the simple depiction of the real man is enough to convey his power.

The pedestal under the horse is composed of two reliefs toward the top with fake doors underneath. The doors symbolize the gates of the underworld, lending the feeling of a tomb, though the monument was never a burial place. [5] One relief shows Gattamelata's coat of arms flanked by two putti that are pointing to it. The other relief is of angels displaying battle armor. [5]

Erasmo da Narni (Gattamelata) sits high on his horse, looking out to the distance. The emotion on his face is serious. Donatello portrays Gattamelata as a composed, alert and watchful leader. The depiction of force of character and the reference to the power of real people flows with the Renaissance themes of individualism and humanism.

The horse echoes the alert, self-contained and courageous air of the rider. The realistic depiction of its muscular form reveals the Renaissance concern with anatomical study that was later developed in Leonardo da Vinci's studies for the Sforza equestrian monument.

Donatello also conveys Gattamelata's power with symbolism. He commands a powerful horse and both appear ready for battle. The horse's front left hoof rests on an orb, a cannonball, which symbolizes military advances, representing his power of the Venician army. Gattamelata was hired by Venice and made many advances to solidify the "terra" or earth around Venice for the Venician Government. This statue was raised by his family to honor the General. <Dr. Beth Harris and Dr. Steven Zucker. Khan Academy>. This is especially rare and noticeable as Gattamelata was not a head of state. [6] Gattamelata is portrayed as a warrior figure, carrying a baton symbolising his military leadership and with a lengthy sword. While Gattamelata died in his 70s, Donatello depicts him at the height of his power, further emphasizing his might and abilities. [5]

The Equestrian statue of Gattamelata is a sharp departure from earlier, post-Classical equestrian statues, such as the Gothic Bamberg Horseman (c. 1230s). While the Bamberg Horseman depicts a German emperor, it lacks the dimension, power, and naturalism of Gattamelata. While that rider is also in fairly realistic proportion to his horse, he lacks the strength of Gattamelata. The latter is portrayed as a real man, his armor a badge of status this ruler, however, appears almost deflated, lost in the carefully sculpted drapery that covers him. His power is derived solely from his crown, reflecting the differences that Renaissance individualism produced: here, position – the crown – is what matters, whereas in Gattamelata, it is the individual and his character that matter.

A comparison between the sculpture and that of Marcus Aurelius' equestrian statue shows how closely Donatello looked to classical art and its themes. In this depiction of Marcus Aurelius, the emperor dwarfs his horse, dominating it by size. However, the emperor also has a facial expression of dominance and determination. Marcus Aurelius's horse is dressed up, and, while the emperor himself is clad in robes, not armor, he appears both the political and military leader. The attention to the horse's musculature and movement and the realistic depiction of the emperor (forgiving his size) are mirrored in Gattamelata. Also similar is the feeling of grandeur, authority, and power both portraits exude.

Another element that Donatello took from ancient sculpture is the trick of adding a support (a sphere) under the raised front leg of the horse, which appears also in the lost Regisole of Pavia, a bronze equestrian statue from either the late Western Roman Empire, the Ostrogothic Kingdom or the Byzantine Exarchate of Ravenna. In this sculpture a standing dog was used to carry the load under the horseshoe.


Donatello

Donato di Niccolò di Betto Bardi was an artist during the medieval times. He was born in 1386 and he died in 1466. He was from Florence, Spain and is widely known as a sculptor. He is also most known only by the name Donatello. Donatello was part of the early Renaissance period. He used multiple mediums for his sculpting including marble, bronze, terracotta, and wood.

Donatello used a shallow relief style that helped to create perspective for his sculpted pieces. He coined the term schiacciato. It was used to provide the illusion of various angles and viewpoints. It was also referred to as bas-relief. This particular technique brought a great deal of recognition to Donatello. Early training for Donatello began by studying under Lorenzo Ghiberti, a goldsmith. In the goldsmith's workshop, Donatello learned to hone his talent and craft.

Donatello was one of the forerunners of the humanist movement. Humanism is a belief system that values humans individually and collectively and values humans from each perspective possible for humans. This is evident throughout Donatello's work. His most famous works include sculptures of David, Mary Magdalene, Madonna, St. Mark, St. John the Evangelist and St. George and the Dragon. A central focus of humanism is to allow for and focus upon the feelings and emotions of humans. The piece Saint John the Evangelist was a move into this realm and brought attention away from the dominating gothic mannerism style of the time.

Another central theme to Donatello's sculptures is historical figures from the bible. Some of the figures included the Sacrifice of Isaac (1421), Habbakuk (1423–1425), and Jeremiah (1423–1426). Also included in his works is the Crucifix. The agony that Christ suffered could be seen through the details on his face. This was representative of the humanist effect and mindset.

The most famous work completed by Donatello was a statue of David, the king from the bible.. David represents the power and strength of God and how good overcomes evil. The statue was commissioned by the cathedral in Florence. The cathedral had intentions of representing 12 different prophets from the bible. The first version of Davis was a marble statue that Donatello worked on from 1408 to 1409. When the statue was placed in the cathedral, it was found to be too small so the statue was not shown as expected. However, in 1416 the government of Florence requested the statue be sent to them to place in the main palazzo (plaza).

A second David statue was made completely of bronze. This was a particularly special feat because bronze had not previously been unsupported. It was a nude statue that showed David with the sword that killed Goliath and a hat that had leaves, thought to be the same as David has worn in the fight between David and Goliath. A great deal of controversy has surrounded this statue from where it was intended to be located but where it is actually located, the shape of David's body and the pose he carries and finally, the effeminate nature of the statue. The controversy and discussion regarding this sculpture still abound today with little definitely decided. What is certain is the sculpture was unlike any previously completed in the medieval ages.


APA citation. Handley, M.L. (1909). Donatello Di Betto Bardi. In The Catholic Encyclopedia. New York: Robert Appleton Company. http://www.newadvent.org/cathen/05115d.htm

MLA citation. Handley, Marie Louise. "Donatello Di Betto Bardi." The Catholic Encyclopedia. Vol. 5. New York: Robert Appleton Company, 1909. <http://www.newadvent.org/cathen/05115d.htm>.

Transcription. This article was transcribed for New Advent by Douglas J. Potter. Dedicated to the Immaculate Heart of the Blessed Virgin Mary.

Ecclesiastical approbation. Nihil Obstat. May 1, 1909. Remy Lafort, Censor. Imprimatur. +John M. Farley, Archbishop of New York.


Middle period

Donatello was requested to create many pieces or works, which he often executed with other artists. An unusual work is the Marzocco, the lion of the Florentines, carved in sandstone.

Around 1425 Donatello entered into partnership with Michelozzo, a sculptor and architect, with whom he made a trip to Rome after 1429. (Vasari states that Donatello went to Rome with architect Filippo Brunelleschi [1377�]. This would have been much earlier, perhaps in 1409 but there is no document to confirm such a trip.) With Michelozzo he produced a series of works, including the tomb of Pope John XXIII in the Baptistery, Florence, and the tomb of Cardinal Brancacci in Saint Angelo a Nilo, Naples, both of which were in progress in 1427. The first of these established a type of wall tomb (burial chamber) that would influence many later Florentine examples.

Probably just after the trip to Rome, Donatello created the well-known gilded limestone Annunciation tabernacle (place of worship) in Sta Croce, Florence, enclosing the pair of Gabriel and the Virgin Mary. He was also commissioned to carve a Singing Gallery for the Cathedral to match the one already begun by Luca della Robbia (both now in the Museo dell'Opera). Using marble and mosaic, Donatello presented a classically inspired frieze (a decorative band) of wildly dancing putti. It was begun in 1433, completed six years later, and installed in 1450.


DONATELLO

*Castelfranco, Giorgio. Donatello . Translated by R.H. Boothroyd. New York: Reynal, 1965.

*Draper, James David. "Donatello (ca. 1386–1466)". In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art,

Dunkelman, Martha Levine. “Donatello’s Influence on Mantegna’s Early Narrative Scenes.” Art Bulletin 62, no. 2 (June 1980): 226-235.

Foster, Philip. “Donatello Notices in Medici Letters.” Art Bulletin 62, no. 1 (March 1980): 148-150.

*Lubbock, Jules. Storytelling in Christian Art from Giotto to Donatello . London, England: Yale University Press, 2006.

McHam, Sarah Blake. “Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Florence.” Art Bulletin 83, no. 1 (March 2001):

*Meyer, Alfred Gotthold. Monographs on Artists . Vol. 8, Donatello . Edited by H. Knackfuss. Translated by P.G. Konody. Bielefeld and

Leipzig, Germany: Velhagen & Klasing, 1904.

*Podro, Michael. Depiction . London, England: Yale University Press, 1998.

*Poeschke, Joachim. Donatello and His World: Sculpture of the Italian Renaissance . Translated by Russell Stockman. New York: Harry N.

*Pope-Hennessy, John. Donatello Sculptor . New York: Abbeville Press, 1993.

Turner, A. Richard. Renaissance Florence: The Invention of a New Art . New York: Harry N. Abrams, 1997.


These members of the Foot Clan served as security enforcers and patrolled the streets of a darker Human world controlled by the Shredder. They wore long trench coats with the symbol of the Foot present on their left shoulder which identified them as members of the police force. They typically carried machine guns but also had swords sheathed by their hips which they were capable of using for combat. Their faces possessed two red glowing eyes and were covered.

While numerous, they were only Human making it possible for a person to overpower them.


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