which art period did donatello
Later in his career, Donatello created the Equestrian Monument to Gattamelata (1445-1450) in Padua. This monument is another example of naturalism. In making people and animals that were true to life, Donatello broke from the Gothic style of Mannerism. One of his final projects was a statue of the penitent Mary Magdalene, also for the Baptistery.
During the early Renaissance, works of art, architecture, and sculpture were paid for in part by newly rich, middle class families gaining power in Italian cities. For example, the Medici family rose to power in Florence and contributed two Popes in the Renaissance period. Many of Donatello’s works were financed by commissions from families like the Medici clan.
Donato di Niccolò di Betto Bardi (c. 1386 – 13 December 1466), better known as Donatello ( English: / ˌ d ɒ n ə ˈ t ɛ l oʊ /  Italian: [donaˈtɛllo] ), was an Italian sculptor of the Renaissance. Born in Florence, he studied classical sculpture and used this to develop a complete Renaissance style in sculpture, whose periods in Rome, Padua and Siena introduced to other parts of Italy a long and productive career. He worked with stone, bronze, wood, clay, stucco and wax, and had several assistants, with four perhaps being a typical number. Though his best-known works were mostly statues in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was larger architectural reliefs.
The Donatello Multi-Purpose Logistics Module (MPLM) built by the Italian Space Agency, was one of three MPLMs operated by NASA to transfer supplies and equipment to and from the International Space Station. The others were named Leonardo and Raffaello.
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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 about 1400. Some time 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 Florentine 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. Other of Donatello’s early works, still partly Gothic in style, are the impressive seated marble figure of St John the Evangelist for the cathedral façade and a wooden crucifix in the church of Santa Croce. The latter, according to an unproved anecdote, was made in friendly competition with Brunelleschi, a sculptor and an architect.
Around 1425, Donatello entered into a partnership with Italian sculptor and architect Michelozzo, who also studied with Lorenzo Ghiberti. Donatello and Michelozzo traveled to Rome, where they produced several architectural-sculptural tombs, including the tomb of Antipope John XXIII and the tomb of Cardinal Brancacci. These innovations in burial chambers would influence many later Florentine tombs.
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.