Book contents
- The Art of Sculpture in Fifteenth-Century Italy
- The Art of Sculpture in Fifteenth-Century Italy
- Copyright page
- Contents
- Acknowledgments
- Contributors
- Introduction Making and Unmaking Sculpture in Fifteenth-Century Italy
- Part I Surface Effects: Color, Luster, and Animation
- Part II Sculptural Bodies: Created, Destroyed, and Re-Enchanted
- Part III Sculptural Norms, Made and Unmade
- Part IV Sculpture as Performance
- Part V Sculpture in the Expanded Field
- Chapter 13 Stucco as Substrate and Surface in Quattrocento Florence (and Beyond)
- Chapter 14 The Punch Marks on Ghiberti's Gates of Paradise
- Chapter 15 Relief Effects in Donatello and Mantegna
- Chapter 16 Candelabra-Columns and the Lombard Architecture of Sculptural Assemblage
- Part VI Sculpture and History
- Index
- References
Chapter 15 - Relief Effects in Donatello and Mantegna
from Part V - Sculpture in the Expanded Field
Published online by Cambridge University Press: 18 February 2020
Book contents
- The Art of Sculpture in Fifteenth-Century Italy
- The Art of Sculpture in Fifteenth-Century Italy
- Copyright page
- Contents
- Acknowledgments
- Contributors
- Introduction Making and Unmaking Sculpture in Fifteenth-Century Italy
- Part I Surface Effects: Color, Luster, and Animation
- Part II Sculptural Bodies: Created, Destroyed, and Re-Enchanted
- Part III Sculptural Norms, Made and Unmade
- Part IV Sculpture as Performance
- Part V Sculpture in the Expanded Field
- Chapter 13 Stucco as Substrate and Surface in Quattrocento Florence (and Beyond)
- Chapter 14 The Punch Marks on Ghiberti's Gates of Paradise
- Chapter 15 Relief Effects in Donatello and Mantegna
- Chapter 16 Candelabra-Columns and the Lombard Architecture of Sculptural Assemblage
- Part VI Sculpture and History
- Index
- References
Summary
From when he started working as a sculptor, Donatello produced figures that yearn for some connection to the viewer and the real space around them. At least that is the impression one takes away from examining one of the first known figures by the Florentine sculptor in a small relief, the Vir Dolorum from the Museo dell’Opera del Duomo in Florence (Fig. 201). The piece was originally installed at the apex of the Cathedral’s Porta della Mandorla.1 When the relief was still in his workshop, close to his hands and eyes, Donatello shaped the simple geometrical frame to contain and release a subtly enlivened figure of the dead Christ.
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- Information
- The Art of Sculpture in Fifteenth-Century Italy , pp. 327 - 343Publisher: Cambridge University PressPrint publication year: 2020
References
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