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Amleto Sartori (3 November 1915 - 18 February 1962) was an Italian sculptor and poet from Padua most famous for his theater masks.
First a sculptor, after the Second World War, Sartori began to fervently study the masks of Commedia dell'Arte [1] which led him to a technique of modeling leather masks on wooden molds. His mask making techniques became famous, and his son Donato (1939 - 2016) later continued the work.
Sartori became friends with Jacques Lecoq, who introduced him to the Piccolo Teatro in Milan, where he met Giorgio Strehler and Paolo Grassi. This was a turning point in Sartori's career, and brought him into contact with other artists such as Ferruccio Soleri and Marcello Moretti for the construction of masks for their theater productions.
In 1979 his son Donato Sartori founded the Centro maschere e strutture gestuali in Padua, while in 2004, after his death, the International Museum of the Masks of Amleto and Donato Sartori (Museo Internazionale della Maschera Amleto e Donato Sartori) was founded in Abano Terme. [2]
Paolo Uccello, born Paolo di Dono, was a Florentine painter and mathematician who was notable for his pioneering work on visual perspective in art. In his book Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point. While his contemporaries used perspective to narrate different or succeeding stories, Uccello used perspective to create a feeling of depth in his paintings. His best known works are the three paintings representing the battle of San Romano, which were wrongly entitled the Battle of Sant'Egidio of 1416 for a long period of time.
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Donato di Niccolò di Betto Bardi, better known as Donatello, 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. Financed by Cosimo de' Medici, Donatello's David, was the first freestanding nude male sculpture since antiquity. 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.
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