Donatello - Amorino - sculpture (part) - postcard c.1930s

• Art Postcard

   

• Work of art title: Amorino (part)
• Artist (if known): Donatello
• Media or other details:  sculpture
• Publisher / Gallery: Museo Nazionale, Firenze, Italy
• Postally used:  no
• Stamp & postmark details (if relevant): n/a
• Size: standard
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A773

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Donato di Niccolò di Betto Bardi (c. 1386 – December 13, 1466), better known as Donatello, was an early Renaissance sculptor from Florence. He is, in part, known for his work in bas-relief, a form of shallow relief sculpture that, in Donatello's case, incorporated significant 15th-century developments in perspectival illusionism.

Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Wool Combers Guild, and was born in Florence, most likely in the year 1386. Donatello was educated in the house of the Martelli family.^[1] He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti.

While undertaking study and excavations with Filippo Brunelleschi in Rome (1404–1407), work that gained the two men the reputation of treasure seekers, Donatello made a living by working at goldsmiths' shops. Their Roman sojourn was decisive for the entire development of Italian art in the 15th century, for it was during this period that Brunelleschi undertook his measurements of the Pantheon dome and of other Roman buildings. Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a potent influence upon the artists of the age.

In Florence, Donatello assisted Lorenzo Ghiberti with the statues of prophets for the north door of the Baptistery of Florence Cathedral, for which he received payment in November 1406 and early 1408. In 1409–1411 he executed the colossal seated figure of Saint John the Evangelist, which until 1588 occupied a niche of the old cathedral façade, and is now placed in the Museo dell'Opera del Duomo. This work marks a decisive step forward from late Gothic Mannerism in the search for naturalism and the rendering of human feelings.^[2] The face, the shoulders and the bust are still idealized, while the hands and the fold of cloth over the legs are more realistic.

In 1411–1413, Donatello worked on a statue of St. Mark for the guild church of Orsanmichele. In 1417 he completed the Saint George for the Confraternity of the Cuirass-makers. The elegant St. George and the Dragon relief on the statue's base, executed in schiacciato (a very low bas-relief) is one of the first examples of central-point perspective in sculpture. From 1423 is the Saint Louis of Toulouse for the Orsanmichele, now in the Museum of the Basilica di Santa Croce. Donatello had also sculpted the classical frame for this work, which remains, while the statue was moved in 1460 and replaced by Incredulity of Saint Thomas by Verrocchio.

Between 1415 and 1426, Donatello created five statues for the campanile of Santa Maria del Fiore in Florence, also known as the Duomo. These works are the Beardless Prophet; Bearded Prophet (both from 1415); the Sacrifice of Isaac (1421); Habbakuk (1423–1425); and Jeremiah (1423–1426); which follow the classical models for orators and are characterized by strong portrait details. From the late teens is the Pazzi Madonna relief in Berlin. In 1425, he executed the notable Crucifix for Santa Croce; this work portrays Christ in a moment of the agony, eyes and mouth partially opened, the body contracted in an ungraceful posture.

From 1425 to 1427, Donatello collaborated with Michelozzo on the funerary monument of the Antipope John XXIII for the Battistero in Florence. Donatello made the recumbent bronze figure of the deceased, under a shell. In 1427, he completed in Pisa a marble relief for the funerary monument of Cardinal Rainaldo Brancacci at the church of Sant'Angelo a Nilo in Naples. In the same period, he executed the relief of the Feast of Herod and the statues of Faith and Hope for the Baptistery of San Giovanni in Siena. The relief is mostly in stiacciato, with the foreground figures are done in bas-relief.

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted