what characteristic of donatello’s work helps to define him
Donatello was a sculpturist of the Renaissance period and was popularly known for his sculptures which outlined the life filled postures and figures. He worked on the minute details of human emotions and facial expression. Most of his sculptures were made in a way that they conveyed some form of inner emotions and thus brought the character of the subject.
Answer is that Donatello’s explored human emotions and expressions through his sculptures.His sculptures had a perfect blend of tradition and human expression .He was an expert in potraying emotions which can be seen in many of his work.Example the statue of condottiero Erasma da Narni is a very famous sculpture which shows emotions and it also shows vulnerability and softness.The face of all the sculptures explored emotions and expressions.
he’s the one who invented paper ︶︿︶
5. draw from life.
This sculpture is seen as an important step away from the Gothic style that predominated in Florentine (and European) art at this point. Moreover, Donatello shows a new understanding of the requirements of perspective, compensating for the fact that viewers would see the sculpture from below and therefore making the body disproportionately longer than the legs. As the curator and art historian Daniel M. Zolli points out, Donatello was aware that the base of the sculpture would be set approximately four feet above human height: “Not only are John’s proportions far closer to nature when observed from this angle, but his presence is much more formidable: the fabric of his raiment hangs heavily from the frame of his body, and the whole composition organizes itself into a stable pyramid.”
Niccolo da Uzzano was an important figure in Florentine politics in the early decades of the 15th century, who acted as a respected intermediary figure between the city’s powerful rival families. Donatello produced the bust (although its authorship is sometimes contested) soon after Uzzano’s death in 1433. It was the first half-bust of a private citizen produced since antiquity.
A pictorial tendency in sculpture had begun with Ghiberti’s narrative relief panels for the north door of the Baptistery, in which he extended the apparent depth of the scene by placing boldly rounded foreground figures against more delicately modeled settings of landscape and architecture. Donatello invented his own bold new mode of relief in his marble panel St. George Killing the Dragon (1416–17, base of the St. George niche at Orsanmichele). Known as schiacciato (“flattened out”), the technique involved extremely shallow carving throughout, which created a far more-striking effect of atmospheric space than before. The sculptor no longer modeled his shapes in the usual way but rather seemed to “paint” them with his chisel. A blind man could “read” a Ghiberti relief with his fingertips; a schiacciato panel depends on visual rather than tactile perceptions and thus must be seen.
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.