Donatello . hereas Donatelloswork is merely a study of thenude from a naked in the competition for thedoor of the Baptistery, it wasjust his realism that made Bru-nelleschi dangerous to Ghiberti— and now he was to surpassDonatello by the idealism of hisconception! Yet there is nodoubt about the fact. The cru-cified Saviour in S. Maria Novellais a work of great beauty: the head with its noble features is delicatelyframed by the hanging locks; the delicately modelled body is conceivedin an attitude which shows that the master was mainly concerned with aharmonious general effect, and
Donatello . hereas Donatelloswork is merely a study of thenude from a naked in the competition for thedoor of the Baptistery, it wasjust his realism that made Bru-nelleschi dangerous to Ghiberti— and now he was to surpassDonatello by the idealism of hisconception! Yet there is nodoubt about the fact. The cru-cified Saviour in S. Maria Novellais a work of great beauty: the head with its noble features is delicatelyframed by the hanging locks; the delicately modelled body is conceivedin an attitude which shows that the master was mainly concerned with aharmonious general effect, and not with unrestrained realism. Donatello,on the other hand, was not so fastidious in the choice of his model. It isreally a crocijisso contadino, square-built, with a broad but flat chest,and coursely shaped limbs. A broad piece of cloth is placed around theloins, without the slightest regard for an effective contrast to the nude, or,even less, for beautiful folds. From the point of view of form, it is the. Fig. 20. St. John the Baptist. Florence. Campanile. West- front. After a photograph from the original by Alinari Brothers, Florence. (To page 33.) n
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License: Licensed
Model Released: No
Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
