Donato di Niccolò di Betto Bardi, known mononymously as Donatello, was an Italian sculptor of the Renaissance period. Born in Florence, he studied classical sculpture and used his knowledge to develop an Early Renaissance style of sculpture. He spent time in other cities, where he worked on commissions and taught others; his periods in Rome, Padua, and Siena introduced to other parts of Italy the techniques he had developed in the course of a long and productive career. His David was the first freestanding nude male sculpture since antiquity; like much of his work it was commissioned by the Medici family.
Andrea del Verrocchio was an Italian sculptor, painter and goldsmith who was a master of an important workshop in Florence.
Giovanni di Antonio di Banco, called Nanni di Banco, was an Italian Renaissance sculptor from Florence. He was a contemporary of Donatello – both are first recorded as sculptors in the accounts of the Florence Duomo in 1406, presumably as young masters.
Desiderio da Settignano, real name Desiderio de Bartolomeo di Francesco detto Ferro was an Italian Renaissance sculptor active in north Italy.
Jacopo d'Antonio Sansovino was an Italian Renaissance sculptor and architect, best known for his works around the Piazza San Marco in Venice. These are crucial works in the history of Venetian Renaissance architecture. Andrea Palladio, in the Preface to his Quattro Libri was of the opinion that Sansovino's Biblioteca Marciana was the best building erected since Antiquity. Giorgio Vasari uniquely printed his Vita of Sansovino separately.
The Basilica di Santa Maria Gloriosa dei Frari, commonly abbreviated to the Frari, is a church located in the Campo dei Frari at the heart of the San Polo district of Venice, Italy. It is the largest church in the city and it has the status of a minor basilica. The church is dedicated to the Assumption of Mary.
Michelozzo di Bartolomeo Michelozzi, known mononymously as Michelozzo, was an Italian architect and sculptor. Considered one of the great pioneers of architecture during the Renaissance, Michelozzo was a favored Medici architect who was extensively employed by Cosimo de' Medici. He was a pupil of Lorenzo Ghiberti in his early years, and later collaborated with Donatello.
Judith and Holofernes (1457–1464) is a bronze sculpture created by the Italian Renaissance sculptor Donatello towards the end of his life and career. It is located in the Hall of Lilies, in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio.
The Pesaro Madonna is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today. Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11
The decade of the 1430s in art involved some significant events.
San Francesco della Vigna is a Roman Catholic church in the Sestiere of Castello in Venice, northern Italy.
The Tomb of Antipope John XXIII is the marble-and-bronze tomb monument of Antipope John XXIII, created by Donatello and Michelozzo for the Florence Baptistry adjacent to the Duomo. It was commissioned by the executors of Cossa's will after his death on December 22, 1419 and completed during the 1420s, establishing it as one of the early landmarks of Renaissance Florence. According to Ferdinand Gregorovius, the tomb is "at once the sepulchre of the Great Schism in the church and the last papal tomb which is outside Rome itself".
Girolamo Campagna (1549–1625) was a Northern Italian sculptor.
The Penitent Magdalene is a wooden sculpture of Mary Magdalene by the Italian Renaissance sculptor Donatello, now usually dated to around 1440. The sculpture was probably commissioned for the Baptistery of Florence. The piece was received with astonishment for its unprecedented realism. It is now in the Museo dell'Opera del Duomo in Florence. The wood used by Donatello is that of white poplar.
The church of Santa Maria Assunta, known as I Gesuiti, is a religious building in Venice, Italy. It is located in the sestiere of Cannaregio, in Campo dei Gesuiti, not far from the Fondamenta Nuove.
Santa Maria dei Servi, or simply known as the Chiesa dei Servi, or more fully as the Church of the Nativity of the Servants of the Blessed Virgin Mary, is a 14th-century, Roman Catholic church that faces the Via Roma in Padua, region of the Veneto, Italy. This is a parish church in the vicariate of the Cathedral Basilica of Santa Maria Assunta governed by the Servite Order. The church contains outstanding works of art including a wooden crucifix by Donatello.
Giovanni Maria Mosca or Giovanni Padovano was an Italian Renaissance sculptor and medallist, active between 1515 and 1573, initially in the Veneto and after 1529 in Poland, where his first name was rendered Jan.
Italian Renaissance sculpture was an important part of the art of the Italian Renaissance, in the early stages arguably representing the leading edge. The example of Ancient Roman sculpture hung very heavily over it, both in terms of style and the uses to which sculpture was put. In complete contrast to painting, there were many surviving Roman sculptures around Italy, above all in Rome, and new ones were being excavated all the time, and keenly collected. Apart from a handful of major figures, especially Michelangelo and Donatello, it is today less well-known than Italian Renaissance painting, but this was not the case at the time.
Nanni di Bartolo, also known as "il Rosso", was a Florentine sculptor of the Early Renaissance, a slightly younger contemporary of Donatello. His dates of birth and death are not known, but he is recorded as an active master from 1419 to 1451.
The following catalog of works by the Florentine sculptor Donatello is based on the monographs by H. W. Janson (1957), Ronald Lightbown (1980), and John Pope-Hennessy (1996), as well as the catalogs of the 2022/2023 exhibitions in Florence, Berlin and London. In the case of unsigned or documented works, the attributions and dates are, as is usual, based predominantly on stylistic criteria and analogies to secured works. Many of the works attributed to Donatello were created in collaboration with other artists and with specialists in specific techniques.
