Donatello

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Donato di Niccolò di Betto Bardi (circa 1386 – December 13, 1466) was an early Renaissance Italian artist and sculptor from Florence. He is, in part, known for his work in bas-relief, a form of shallow relief sculpture that, in Donatello's case, incorporated significant 15th century developments in perspectival illusionism.

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Early life

Donatello was the son of Niccolo di Betto Bardi, who was a member of the Florentine Wool Combers Guild, and was born in Florence, most likely in the year 1386. Donatello was educated in the house of the Martelli family.[1] He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti.

While undertaking study and excavations with Filippo Brunelleschi in Rome (1404–1407), work that gained the two men the reputation of treasure seekers, Donatello made a living by working at goldsmiths' shops. Their Roman sojourn was decisive for the entire development of Italian art in the 15th century, for it was during this period that Brunelleschi undertook his measurements of the Pantheon dome and of other Roman buildings. Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a potent influence upon the painters of the age.

According to historians such as Paul Strathern, Donatello made no secret of his homosexuality, and his behaviour was tolerated by his friends.[2] However, little detail is known with certainty about his private life, and no mention of his sexuality has been found in the Florentine archives[3] which during his lifetime are very incomplete.[4]

Work in Florence

In Florence, Donatello assisted Lorenzo Ghiberti with the statues of prophets for the north door of the Florence Baptistery, for which he received payment in November 1406 and early 1408. In 1409–1411 he executed the colossal seated figure of Saint John the Evangelist, which until 1588 occupied a niche of the old cathedral facade, and is now placed in a dark chapel of the Duomo. This work marks a decisive step forward from late Gothic Mannerism in the search for naturalism and the rendering of human feelings.[5] The face, the shoulders and the bust are still idealized, while the hands and the fold of cloth over the legs are more realistic.

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