Donatello's Early, Middle and Late Work

Born to a family in Florence in 1386, Donato di Niccolò di Betto Bardi became the greatest sculptor in the early Renaissance period. Better known as Donatello, his masterpieces portrayed great expressivity. At a tender age of seventeen he was an apprentice to a master aiding in the formation of bronze reliefs. As he aged he progressed in learning how to sculpt marble, sandstone, mosaic, wood, bronze and sometimes a mixture of the mediums. We will take a closer look at the similarities and differences between his early, mature and late works.

His first life-size piece was a marble statue in 1409, David. During his early days, there was a very strong Gothic style influence. In technique it was executed perfectly. However, it lacked any sense of individual style or emotion. The legs are positioned in a classic contrapposto, more natural than stone, and the twist of the torso and placement of the arm are suggestive of being smug about the giant's head between the feet even though the face held no expression. Full nudity was not acceptable at that time, so instead the figure was dressed in a casual robe.

In the 1430's Donatello's work started showing more of his own style that he had developed. He was commissioned to create a piece for the Cathedral. His Cantoria blended the Renaissance and Classism, keeping the content both realistic and beautiful. A majority of this marble carving are the putti, naked and pudgy children who appear to be dancing aimlessly. The putti give the illusion of movement, albeit in no particular direction, when they partially disappear behind the carved columns. The figures are still rough around the edges, lacking the pristine detail Donatello was becoming known for, under the presumption that he was on a time crunch to complete the piece.

During this time he also created a second David, this time a freestanding sculpture of bronze, the first of its kind. With the form freestanding it allowed viewers to see every angle and every detail. At first glance, the curvature of the body could be mistaken as female if it were not for the presence of genetalia. The hip is thrust to the right, relaxed bearing the weight while the left foot was carelessly placed on top of the head of Goliath. The left arm is curled onto the hip and in the hand was the stone used to slay the giant. The right held the hilt of a sword. The figure was completely nude, except for the hat and shoes. A wing from the giant's helmet laid against the inside of the thigh. David's face was soft, young, innocent and somewhat mischievous. This piece was met with great reception.

The latest of his works was the Mary Magdalene. Carved from wood, the two meter tall Mary is ghastly in appearance with her skin hugging tight to her frame. As a "woman of sin" she had decided to repent in a cave in the woods without food, and live only off of "heavenly nourishment" so that she could cleanse her body

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