what will donetello say in a speech
The Group’s Inventor and Weaponeer
Donatello and his brothers were once ordinary turtles; when they were infants, they were adopted from a pet store by Hamato Yoshi. When their soon to be father walked passed a strange man, a Kraangdroid, he felt something odd about him and followed. Unfortunately, Yoshi gave away his position when he accidentally stepped on a brown rat’s tail. The Kraang found him and attempted to kill him, but Yoshi fought back hard. In the end, the Kraang dropped the canister of Mutagen they were holding causing the turtles and Yoshi to mutate. Yoshi, having to have stepped on that rat last, thus mutated into a humanoid brown rat by the name of “Splinter”, while Donnie and his brothers, after coming in contact with Splinter when he was human, mutated into humanoid turtles. Splinter knew they would never be accepted in society, so he took them to the sewers, made a home down there, and made the four turtles his children. Knowing the world would be dangerous and there would be a time where they want to explore the outside world, Splinter trained the boys in the art of Ninjitsu. Donnie and his brothers were named after great Renaissance artists from a book Splinter fished out of the storm drain.
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.
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.
The colors, textures, and fades on him are outstanding, and put all previous movie toy versions to shame. Really, click the photo below to enlarge it to maximum size–it’s hard to fully appreciate at any less.
NECA really went above and beyond on the packaging–it’s clear they’re big fans.
Magdalene Penitent (c. 1455) – Museo dell’Opera del Duomo, Florence.
When Cosimo was exiled from Florence, Donatello went to Rome, remaining until 1433. The two works that testify to his presence in this city, the Tomb of Giovanni Crivelli at Santa Maria in Aracoeli, and the Ciborium at St. Peter’s Basilica, bear a strong stamp of classical influence.
We follow Donatello as he lands in an apparently abandoned version of the lair. Except for the Tunneler, a motorized driller the size of a bus, the lair is completely trashed. Confused, Donatello makes his way outside where the Foot Gestapo immediately try to arrest him. Donatello complies until he notices Shredder’s emblem on their uniform and prepares to face them. A shadowy figure then intervenes, and the Foot turn their attention at the more aggressive figure. After he kills most of the Foot, the shadowy figure turns out to be Michelangelo, who is missing most of his left arm. He appears to be much older, and immediately asks Donatello where he’s been, confusing him for the Donatello of his time, who apparently disappeared over 30 years ago making it taking place 2035.
Karai reports to the Shredder that Donatello has returned.