donatello famous artwork
The equestrian monument to the Gattamelata Condottiero, is one of the most well known statues of the artist; it was commissioned to glorify the character. His impressive naturalism, typical of the quattrocentismo of the time, is accompanied by the victorious serenity of the rider who directs the resolute horse that marches firmly with the authority of the baton. The composition is a little away from other statues symbols while there is no architectural link that conditions it.
Commissioned by Cardinal Cavalcanti for his funeral chapel, the image is satisfied in a tabernacle used as a classical architectural framework that harmoniously integrates the allegorical scene to the moment in which the angel announces to Mary his sanctified mission, for this the artist perpetuates a visual dialogue, of candid and graceful faces, contradictory movements, polite filigree and other refined adornments, all united with magnificence in a pictorial sculpture made in serene pietra with elements in terracotta cooked.
Donatello’s return to Florence almost coincided with Cosimo’s. In May 1434, he signed a contract for the marble pulpit on the facade of Prato cathedral, the last project executed in collaboration with Michelozzo. This work, a passionate, pagan, rhythmically conceived bacchanalian dance of half-nude putti, was the forerunner of the great Cantoria, or singing tribune, at the Duomo in Florence on which Donatello worked intermittently from 1433 to 1440 and was inspired by ancient sarcophagi and Byzantine ivory chests. In 1435, he executed the Annunciation for the Cavalcanti altar in Santa Croce, inspired by 14th-century iconography, and in 1437–1443, he worked in the Old Sacristy of the San Lorenzo in Florence, on two doors and lunettes portraying saints, as well as eight stucco tondoes. From 1438 is the wooden statue of St. John the Baptist for Santa Maria Gloriosa dei Frari in Venice. Around 1440, he executed a bust of a Young Man with a Cameo now in the Bargello, the first example of a lay bust portrait since the classical era.
Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Arte della Lana, and was born in Florence, probably in the year 1386. Donatello was educated in the house of the Martelli family.  He apparently received his early artistic training in a goldsmith’s workshop, and then worked briefly in the studio of Lorenzo Ghiberti.
Donatello (diminutive of Donato) was the son of Niccolò di Betto Bardi, a Florentine wool carder. It is not known how he began his career, but it seems likely that he learned stone carving from one of the sculptors working for the cathedral of Florence (the Duomo) about 1400. Sometime between 1404 and 1407 he became a member of the workshop of Lorenzo Ghiberti, a sculptor in bronze who in 1402 had won the competition for the doors of the Baptistery. Donatello’s earliest work of which there is certain knowledge, a marble statue of David, shows an artistic debt to Ghiberti, who was then the leading Florentine exponent of International Gothic, a style of graceful, softly curved lines strongly influenced by northern European art. The David, originally intended for the cathedral, was moved in 1416 to the Palazzo Vecchio, the city hall, where it long stood as a civic-patriotic symbol, although from the 16th century on it was eclipsed by the gigantic David of Michelangelo, which served the same purpose. Still partly Gothic in style, other early works of Donatello are the impressive seated marble figure of St. John the Evangelist (1408–15) for the Florence cathedral facade and a wooden crucifix (1406–08) in the church of Santa Croce. The latter, according to an unproved anecdote, was made in friendly competition with Filippo Brunelleschi, a sculptor and a noted architect.
A good deal is known about Donatello’s life and career, but little is known about his character and personality, and what is known is not wholly reliable. He never married and he seems to have been a man of simple tastes. Patrons often found him hard to deal with in a day when artists’ working conditions were regulated by guild rules. Donatello seemingly demanded a measure of artistic freedom. Although he knew a number of humanists well, the artist was not a cultured intellectual. His humanist friends attest that he was a connoisseur of ancient art. The inscriptions and signatures on his works are among the earliest examples of the revival of Classical Roman lettering. He had a more detailed and wide-ranging knowledge of ancient sculpture than any other artist of his day. His work was inspired by ancient visual examples, which he often daringly transformed. Though he was traditionally viewed as essentially a realist, later research indicates he was much more.
In the 1440s Donatello was invited to Padua to work on a series of bronze works. He first completed the Crucifix for the Padua santo. Arguably the most enticing of the commissions in Padua was the equestrian statue known popularly of as Gattamelata. This work depicts the Venetian Erasmo da Narmi atop his steed in battle regalia. Its popularity spread immediately after its completion when other nobles desired the same type of depiction.
Donatello’s father was Niccolo di Betto Bardi. The Bardi family were commercially successful and Niccolo Bardi was a wool carder that had earned a modest place in Florence’s bourgeois society. This social rank likely earned Donatello an apprenticeship around 1400 to learn stone-carving with one of the many sculptors who worked nearby during the construction of the Florence’s cathedral, the Duomo.
Born in Florence, Italy, around 1386, sculptor Donatello apprenticed early with well-known sculptors and quickly learned the Gothic style. Before he was 20, he was receiving commissions for his work. Over his career he developed a style of lifelike, highly emotional sculptures and a reputation second only to Michelangelo’s.
In 1443, Donatello was called to the city of Padua by the family of the famous mercenary Erasmo da Narni, who had died earlier that year. In 1450, Donatello completed a bronze statue called Gattamelata, showing Erasmo riding a horse in full battle dress, minus a helmet. This was the first equestrian statue cast in bronze since the Romans. The sculpture created some controversy, as most equestrian statues were reserved for rulers or kings, not mere warriors. This work became the prototype for other equestrian monuments created in Italy and Europe in the following centuries.