Donatello . Thissounds very improbable, for Nanni di Banco was certainly at that time amore experienced sculptor, than young Donatello. But this anecdote pointsalready to a talent which above all procured Donatello his first successes as amaker of statues: his consideration of the position. His own statue of St. Mark pleased so little in his workshop, that itwas only reluctantly accepted, but in its niche at Or San Michele it imme-diately produced an insurpassable effect. This side of Donatellos art hasbeen laid stress upon again and again, and with good reason, for this pleasing quality cover
Donatello . Thissounds very improbable, for Nanni di Banco was certainly at that time amore experienced sculptor, than young Donatello. But this anecdote pointsalready to a talent which above all procured Donatello his first successes as amaker of statues: his consideration of the position. His own statue of St. Mark pleased so little in his workshop, that itwas only reluctantly accepted, but in its niche at Or San Michele it imme-diately produced an insurpassable effect. This side of Donatellos art hasbeen laid stress upon again and again, and with good reason, for this pleasing quality covers amain secret of his wholepower: the great mastersgift of seeing his workat any moment in itsentirety, as a completewhole. But in the caseof a single figure, thissignifies at the same timethe correct perceptionand expression of theplastic function of theUmbs, within this is the great discovery Fig. 12. Head of the Goliath on the Marble David. Cf. Fig. 6. (To page 24.) which already makes the. 17 young Donatello of Or San Michele superior as statuarist to all hisfellow-workers. It is true that in the figures of the cathedral porch it is forebodedrather, then an accomplished fact. The boys figure to the left retains thewhole awkwardness of the Gothic style. Its position, with the weight thrownon one leg, is too intentional and yet ineffective under the flat folds of thecloak; the pose of the arms and of the strikingly round head which protrudesfrom a thick neck, is clumsy. The whole thing is still under the sway ofGothic line and is essentially a careful study of drapery. Not so thecompanion-piece to the right. The young lad, who has evidently posedas model in the workshop, is rendered with life-like animation. There isnow no awkwardness in thepose of the arms. The left,easily yet firmly pressedagainst the hip, lends naturalsupport to the cloak whichfalls over the left leg, downto the foot, leaving exposedthe naked leg which has tobear the weight. Only ashort, gird
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
