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By H.W. Janson

Donato di Niccolo di Betto Bardi (circa 1386 – December thirteen, 1466), greater referred to as Donatello, was once an early Renaissance Italian sculptor from Florence. he's, partly, recognized for his paintings in bas-relief, a kind of shallow aid sculpture that, in Donatellos case, included major 15th-century advancements in perspectival illusionism.

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A of the S. nar- opened along the Hne of deservedly forgotten, juncture. , p. , p. , p. 200, n. 47) proposed "c. ^ "in competition" would made his cruci- with Donatello; the Anonimo Mag- sparse pattern. But how did the notion of a contest between Donatello and Brunelleschi get started at all? any degree of assurance. Under the circumstances, tracted so the product of a tendency, clearly dis- cernible from the later fifteenth century on, to "build S. up" Brunelleschi at the expense of his contemporaries.

Croce crucifix on a comMaria Novella, as if this step were inevitable. Such, however, is far from the case; the two works are so different in style that without the Vasari anecdote nobody would have thought of assuming any Idnd of connection between them. The S. Maria Novella crucifix is one of the most disputed pieces of its kind; whether or not we accept the authorship of Brunelleschi (vouched for by his late fifteenth century biographer, who may have been Antonio Manetti ) its date cannot be established with 1 in Renaissance liabechiano adds that Brunelleschi had criticized Dona- Pretiss.

Croce crucifix into the ceuvre of Donatello, there can be no doubt that it must be an early work: the artist is vigorously attacking the in detail, are feet overlap, the crucifix, If among not this one, then another very Had opinion of the been said before, fere with our assumption that Donatello took a Ghiberti crucifix qualities in the process. would have been of a "middle group" executed between 1407 and 1415. Neither dating would of Donatella dictated have induced a distinctly progressive feature.

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