how did donatelo de
It’s not known how Donatello and Cosimo de’Medici became friends. They shared a fascination with the ancient world and lived in close proximity, so their paths must have crossed.
Donatello was not a popular person, but in his sculptures he managed to capture life itself. Every look and gesture was rich in humanity and personality. He was known to mutter “speak, damn you, speak!” at his figures as he worked.
The head of Saint John the Evangelist, 1408-1415 which until 1588 occupied a niche of the old cathedral façade, and is now placed in the Museo dell’Opera del Duomo.
In 2020 thanks to Gianluca Amato art historian, who did the doctoral thesis at the University of Naples Federico II on the wooden crucifixes between the late thirteenth and the first half of the sixteenth century, with studies he discovered that the crucifix of the church of Sant’Angelo a Legnaia is of the hand of Donatello. This discovery has been historically evaluated considering that the work belonged to the Compagnia di Sant’Agostino which was based in the oratory adjacent to the mother church of Sant’Angelo a Legnaia. The promoters of the research were Don Moreno Bucalossi and Anna Bisceglia functionary and historian of the art of the superintendence who in 2012 considered the work worthy of study and restoration. Silvia Bensì took care of the restoration that brought the work that has now returned to its home to its former glory.    
By 1455, Donatello had returned to Florence and completed Magdalene Penitent, a statue of a gaunt-looking Mary Magdalene. Commissioned by the convent at Santa Maria di Cestello, the work was probably intended to provide comfort and inspiration to the repentant prostitutes at the convent. Donatello continued his work taking on commissions from wealthy patrons of the arts. His lifelong friendship with the Medici family earned him a retirement allowance to live on the rest of his life. He died of unknown causes on December 13, 1466, in Florence and was buried in the Basilica of San Lorenzo, next to Cosimo de’ Medici. An unfinished work was faithfully completed by his student Bertoldo di Giovanni.
By this time, Donatello was gaining a reputation for creating imposing, larger-than-life figures using innovative techniques and extraordinary skills. His style incorporated the new science of perspective, which allowed the sculptor to create figures that occupied measurable space. Before this time, European sculptors used a flat background upon which figures were placed. Donatello also drew heavily from reality for inspiration in his sculptures, accurately showing suffering, joy and sorrow in his figures’ faces and body positions.
The cause of Donatello’s death is not widely written about, but it is known that the last years of his life were spent designing twin bronze pulpits for San Lorenzo. He died at the age of 79 or 80.
It is not known how Donatello began his career, but he probably learned stone carving from one of the sculptors working on the cathedral of Florence (the Duomo) about 1400. Between 1404 and 1407 he joined the workshop of Lorenzo Ghiberti, a sculptor who in 1402 had won the competition for the doors of the Baptistery.
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He worked in wood, stone, and marble. His final sculptures had an unfinished quality to them, similar to those of Michelangelo, causing the the viewer to see the creation more internally rather than merely the external form.