Abstract This art study examines the classical influence that resides within the works of Donatello and Andrea Mantegna. By observing the sculptures of Donatello, one realizes how classical antiquity is represented through content and form in composition. Andrea Mantegna also uses this classical approach to Grecian antiquity within the various paintings this artist produces in the same time period as Donatello. In essence, both of these artist are comparable, since they observe the compositional classical qualities that were the norm of their times in artistic mediums. The paintings of Andrea Mantegna are examples of a return to classical antiquity found in ancient Greek culture. The painting "St. Sebastian" (c.1480) relies on composition that is at once Greek.
Abstract The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of "High" signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello's earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period's hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello's and Michelangelo's statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper "Moreover, Donatello's David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo's later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero"as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello"s, Michelangelo's David sports a barely noticeable sling."
Abstract This paper examines the works of the Renaissance sculptor Donatello as an artist in his own right, rather than as a precursor to the innovations of artists who followed him. There is an emphasis on Donatello's work as a realist, where he draws from the fall of Rome, rather than as a humanist as were most Renaissance artists.
Abstract The paper shows how beginning around the early 15th century, the Italian Renaissance (1420-1600) was a culmination of Italy's "rebirth" within their culture ? which included artistic focus and style. The writer of the paper examines two of the most influential sculptors of their Renaissance times - Donatello, and Michelangelo. He shows how both sculptors were commissioned to create their interpretation of the Biblical David. While the two share some similarities, both pieces are strikingly different from the medium in which they were sculpted to the artist's use of realism. The paper discusses the Renaissance period as a background to these works of art.
From the Paper "Michelangelo's David also follows the Renaissance style of increased realism, humanism and return to Greco-Roman traditions. His sculpture came during the time period labeled "High Renaissance", which was the later period of the Renaissance. Michelangelo was given a thirteen and a half foot block of marble to sculpt David out of, which interestingly had been hacked on by another artist already! In essence, the block was used ? a remnant of sorts. (Bloem) From this enormous block of marble came one of the most famous and breathtaking sculptures of all time. David, unlike Donatello's interpretation, is seen before the fight with Goliath. His body is poised, ready for the fight. The anatomical detail is superb on this sculpture. As the Renaissance went from the Early period to the High period, the artists paid even more attention to detail in anatomy, which is reflected by Michelangelo's David."
Abstract This paper explains that several artists have depicted David, the young man, in an artistic medium. The author explores sculptures by Michelangelo, Donatello and Bernini.
From the Paper "The Biblical image of David has been portrayed in various lights throughout history. David is, of course, the young man who fought the giant Goliath in Judeo-Christian mythology. It is a story that has infused many aspects of modern culture and as such several artists have taken on the task of depicting the young man in an artistic medium. Past artists who have executed sculptures of the famed young man include Michelangelo, Donatello and Bernini. The works of each of these artists depict the ..."
The following paper looks at Michelangelo's contributions to art and architecture and shows how he has exerted an unparalleled influence on the development of Western art.
Abstract This paper examines Michelangelo's contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today.
From the Paper "Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). "
From the Paper "Donatello's bronze David (c. 1430) and Michelangelo's marble David (1504) are, nominally, treatments of the same subject. Yet -- considering the fact that both drew on the same iconographic tradition, were made within seventy-five years of each other, were created in Florence and credited with political meanings, and were important landmarks in the influence of classical art on the Renaissance -- it would be difficult to imagine two sculptures that were more different. A comparison of these two works will demonstrate how the sculptors made iconographic choices suited to the functions of their statues and how each man took a different approach to the integration of the antique into his style."
Discusses the various ways in which absolutism gave way to freedom during the Renaissance. Examines the art of Donatello, the philosophy of Kant, Bacon, & Descartes, the Glorious Revolution, & French civil wars.
900 words (approx. 3.6 pages), 1 source, 1996, $ 31.95
From the Paper "Humanism and the Renaissance involved similar revivals of classical learning, an elevation of the individual, and a belief in the worth of human thought over authority, whether the latter be the authority of a political body or a church. The essence of humanism is found in the works produced during the Renaissance by writers, artists, and sculptors as they structured their works with humanistic values in mind. The development of humanism in the Renaissance involved a shift in how people thought, and this occurred at the same time that the horizons of the West were expanding, be they geographical, mental, social, economic, or political. There was a new focus on the individual, seen in political terms with a growing sense that individuality and government authority were at odds: Individualism stressed personality, genius, uniqueness..."
From the Paper "In relief sculpture created by Florentine artists in the period 1400-1430 many of the most significant advances of Renaissance art were initiated long before painters took them up. In the works of Donatello (c. 1386-1466) and Lorenzo Ghiberti (c. 1381-1455) the antique became an important source of inspiration and the use of artificial perspective was introduced. Relief sculpture is a sometimes neglected aspect of the general subject of Renaissance sculpture. Because the appearance of freestanding statues in the fifteenth century is one of the most significant results of the renaissance of classical ideals in Italy, other types of sculpture tend to receive less attention. Yet, primarily through the efforts of Donatello and Ghiberti, much of the relief sculpture of the first decades of the Quattrocento was as forward-looking as anything produced in the other mode. This.."
From the Paper "David was one of the most popular Old Testament figures represented in the art of Christian Europe. His well-known life included many events that were easily recognized and took on a variety of symbolic meanings. One of the most common ways of presenting David was in his role as the young killer of the giant Goliath. But even this one portion of David's story could have different forms and meanings. A comparison of four Italian Renaissance sculptures of David demonstrates four very different approaches to the subject. The sculptures are Michelangelo's marble David (1504), Donatello's bronze David (c. 1430), another bronze by Andrea del Verrocchio (c. 1470), and Gianlorenzo Bernini's marble version (1624). Over the span of two centuries it is possible to see the evolution of stylistic approaches in these four statues along with the variations in the artists' use ..."
This paper compares four works of visual art: "Saint John the Baptist" by Donatello & "Moses" by Michelangelo (sculptures); "The Last Supper" by Leonardo da Vinci and"The School of Athens" by Raphael (paintings).
2,475 words (approx. 9.9 pages), 7 sources, 1991, $ 87.95
From the Paper "This paper will investigate and describe the similarities and differences in four works of visual art from the Italian Renaissance. The works in question include two sculptures: Saint John the Baptist by Donatello, and Moses by Michelangelo. In addition, two paintings will be discussed: The Last Supper by Leonardo da Vinci, and The School of Athens by Raphael.
The Renaissance period was in direct contrast to the medieval period which preceded it. In the earlier period, the symbols of the Catholic Church were the most important elements to be found in the visual arts. In the Renaissance period, this factor began to give way to a growing sense of humanism. Thus, the typical Renaissance artist held that "man was not so much the humble observer of God's greatness as the proud expression of God himself, his natural heir on earth". This new attitude ... "
From the Paper "The age of the Renaissance was a time of discovery. There was the discovery of new continents. The discovery of astronomy principles. The discovery of new inventions such as printing and gunpowder and compasses. But most of all it was the discovery of our classical heritage. One of the greatest areas of this influence was in the world of art. Art became a branch of knowledge that was valuable in its own right. Through art, man could create images which helped us understand our position in the universe. This was a discovery of human spirit that brought new confidence in man's possibilities and creations.
Interest in classical ideas came about through a number of major discoveries. Ancient treasures which were once lost were now available for study, examination and appreciation. These treasures included statues, ruins, sarcophagi, and ivories. All ..."
A contrast of the nature and development of the main characters (Donatello and Billy) and the themes (long-term spiritual growth vs. sudden forgiveness in world of evil and violence).
1,350 words (approx. 5.4 pages), 2 sources, 1994, $ 47.95
From the Paper "This study will contrast the main characters (Donatello vs. Billy) and themes (long-term spiritual growth vs. sudden forgiveness) from Nathaniel Hawthorne's The Marble Faun and Herman Melville's Billy Budd. Both books deal with acts of violence---sudden murders by Billy and Donatello---and both books deal with the changes that those murders bring to the main character. This study will focus on the differences in the ways the two authors explore spiritual change and growth.
The first major difference between Donatello and Billy Budd is that Billy is described as being an angel-like or even Christ-like figure, while Donatello is described as half-man and half-faun. This difference is important because it affects the way the two characters develop.
Hawthorne compares Donatello with the statue of the Faun, a..."
Abstract This paper will argue - through a comparison of these two works of art - that the physical aesthetics of both sculptures can only be understood in terms of the cultural contexts that produced them. Their significance and that of their respective visions of male beauty, thus requires those who approach them to do so with reference to the specific talents and genius of the men who created them.
Abstract This paper states that Christian art, which is one of the few forms of art based almost entirely on symbolism, is one of the most diverse genres of art in the world. The paper specifically discuses the phoenix, the pomegranate, the crucifix, the crown of thorns, the rose and the tomb as a few of the prominent symbols contained in Christian art. The paper concludes that, without these symbols, it is very likely that many of the images and stories of the oral tradition of the Church may have been lost.
From the Paper "The crucifix is also a great example of how the same basic symbol can represent different ideas. Take, for example, the christus triumphans style of the crucifix. In this version, the image of Chris is alive on the cross, head held high. This is to represent that while Jesus did suffer and die physically on the cross he was triumphant in the end because his actions cleanse the sins of all of his followers. In stark contrast to this is the christus patiens. This image of Christ shows the figure slumped on the cross, head down, eyes closed, obviously either suffering greatly or dead."
Tags: crucifix, popularity, phoenix, donatello, aid
