donatelo full name
There are accounts by some historians that Donatello and Brunelleschi struck up a friendship around 1407 and traveled to Rome to study classical art. Details of the trip are not well known, but it is believed that the two artists gained valuable knowledge excavating the ruins of classical Rome. The experience gave Donatello a deep understanding of ornamentation and classic forms, important knowledge that would eventually change the face of 15th-century Italian art. His association with Brunelleschi likely influenced him in the Gothic style that can be seen in much of Donatello’s early work.
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.
Donatello’s work was inspired by ancient sculpture. He was the first sculptor of his time to celebrate the human body, an idea that had died out after Greek and Roman times. His life-size statue of David is his best-known work.  The David is the first known free-standing nude statue made since antiquity. Much of his work was done for display in grand churches. Between 1415 and 1426, he made five statues for the Florence Cathedral, also known as the Duomo.
He was the son of Niccolo di Betto Bardi, and was born in Florence. His mother’s name is not known. When Donatello was older, he studied with Filippo Brunelleschi the architect. He also helped the sculptor Lorenzo Ghiberti to make statues for the Battistero di San Giovanni.
Donatello was the son of Niccolo di Betto Bardi, a member of the Florentine wool combers guild, and was born in Florence, most likely in 1386. He was educated in the house of the Martelli family, receiving his early artistic training in a goldsmith’s workshop, and then worked briefly in the studio of Lorenzo Ghiberti.
This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.
Donatello and his innovations in perspective and sculpture during the Early Renaissance contributed greatly to the overall foundation of what would become the flourishing Italian Renaissance. This included the earliest recognized works of Renaissance sculpture, which moved firmly away from the late Gothic style that had predominated before. His revolutionary work, particularly in his representation of the human body, would go on to inspire the early Italian Renaissance painters, including Masaccio, whose paintings in the Brancacci Chapel in Florence in particular mark a turning point for pictorial art in Europe. Donatello also made a significant mark in Padua, where he worked briefly, particularly on Andrea Mantegna (1431-1506), who was an important figure in the development of the Venetian Renaissance. He influenced and taught a number of sculptors, including Nanni di Banco.
Some critics have speculated, because of the perceived homoerotic elements in Donatello’s David, that Donatello himself may have been gay. Very little is known about Donatello’s personal life, but he never married or had children. Anecdotes attributed to Angelo Poliziano in 1480, sometime after Donatello’s death, infer that Donatello had eroticized relationships with his apprentices, claiming that he employed only beautiful young men and “stained” them so that no one else would want them.
Donatello is portrayed by Ben Starr in the 2016 television series Medici: Masters of Florence. 
In Florence, Donatello assisted Lorenzo Ghiberti with the statues of prophets for the north door of the Baptistery of Florence Cathedral, 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 façade, and is now placed in the Museo dell’Opera del Duomo. This work marks a decisive step forward from late Gothic Mannerism in the search for naturalism and the rendering of human feelings.  The face, the shoulders and the bust are still idealized, while the hands and the fold of cloth over the legs are more realistic.