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Time-line: 1401-1450 Previous Page ... 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 ... Next Page |
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DONATELLO Resurrection Pulpit (detail) 1460-65 Bronze San Lorenzo, Florence
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DONATELLO Small angel c. 1417 Bronze Baptistery, Siena
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DONATELLO Small angel c. 1417 Bronze Baptistery, Siena
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DONATELLO St Cosmas and St Damian 1428-35 Polychrome terracotta, 215 x 180 cm Old Sacristy, San Lorenzo, Florence
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DONATELLO St Daniel 1447-50 Bronze, height 153 cm Basilica di Sant'Antonio, Padua
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DONATELLO St George c. 1416 Marble, height 214 cm Museo Nazionale del Bargello, Florence
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DONATELLO St George c. 1416 Marble, height 214 cm Museo Nazionale del Bargello, Florence
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DONATELLO St George (detail) c. 1416 Marble Museo Nazionale del Bargello, Florence
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DONATELLO St George (detail) c. 1416 Marble Museo Nazionale del Bargello, Florence
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DONATELLO St George (detail) c. 1416 Marble Museo Nazionale del Bargello, Florence
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DONATELLO St George and the Dragon c. 1416 Marble, 39 x 120 cm Museo Nazionale del Bargello, Florence
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DONATELLO St John on Patmos 1428-43 Polychrome stucco, diameter 215 cm Old Sacristy, San Lorenzo, Florence
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DONATELLO St John the Baptist 1438 Polychrome wood, height 141 cm Santa Maria Gloriosa dei Frari, Venice
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DONATELLO St John the Baptist 1438 Painted wood, height 141 cm Santa Maria Gloriosa dei Frari, Venice
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DONATELLO St John the Baptist 1438 Polychrome wood, height 141 cm Santa Maria Gloriosa dei Frari, Venice Where Donatello excelled was in his rendering of drama and pathos, nearly always in a Christian context. The gaunt, painted wood statues of St John the Baptist (1438; Santa Maria Gloriosa dei Frari, Venice) and St Mary Magdalene (c. 1457; Museo dell'Opera del Duomo, Florence), as well as his bronze St John for Siena Cathedral, border on the horrific and are deliberately shocking to a casual observer. The choice of wood may reflect a wish to relate these figures to the Gothic tradition of wood-carving in Germany and the alpine regions, where it was always used expressively. The intense empathy that Donatello manifested with his chosen subjects, whether carved in wood or marble or cast in bronze, is deeply moving and is still much appreciated. The very humanity of such works retains its appeal across six centuries. But even if Donatello’s expressiveness is all his own, to some extent he was drawing on an earlier Tuscan Gothic tradition of fiercely dramatic narrative founded by Giovanni Pisano, who, where necessary, as in the <a onclick="return OpenOther('/html/p/pisano/giovanni/pulpit_a/1panel3.html')" href="/html/p/pisano/giovanni/pulpit_a/1panel3.html">Massacre of the Innocents</a> (1301; Sant'Andrea, Pistoia), did not flinch from inflicting the full horror of the event on the spectator.
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DONATELLO St John the Baptist 1457 Bronze, height 185 cm Duomo, Siena
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DONATELLO St John the Baptist (detail) 1438 Painted wood Santa Maria Gloriosa dei Frari, Venice
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DONATELLO St John the Evangelist 1410-11 Marble, height 210 cm Museo dell'Opera del Duomo, Florence
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DONATELLO St John the Evangelist 1410-11 Marble, height 210 cm Museo dell'Opera del Duomo, Florence
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DONATELLO St John the Evangelist (detail) 1410-11 Marble Museo dell'Opera del Duomo, Florence
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