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The Virgin and Child is a c.1426 stiacciato marble relief produced by a pupil or studio assistant of the Italian Renaissance sculptor Donatello, probably after a drawing or autograph sculpture by the master himself.
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In 1895 it was moved to hang over the high altar, for which Donatello had made a bronze enthroned Virgin and Child and six flanking saints, constituting a Holy Conversation, and a total of twenty-one bronze reliefs and one in marble, an Entombment. All these were begun in 1446 and nearly complete by June 1450, though some of the statues seem ...
The Sala di Donatello of the Bargello in Florence, the museum with the largest and best collection of Donatello's work. The following catalog of works by the Florentine sculptor Donatello (born around 1386 in Florence; died on December 13, 1466, in Florence) 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 ...
The Virgin and Child with Four Angels, also known as the Chellini Madonna, is a bronze roundel by the Florentine artist Donatello in the Victoria and Albert Museum, London. The roundel was given by Donatello to his doctor Giovanni Chellini in 1456.
The Pazzi Madonna is a rectangular "stiacciato" marble relief sculpture by Donatello, since 1886 in the sculpture collections of the Bode-Museum in Berlin. [1] [2] Dating to around 1420 and 1425 [3] at the beginning of Donatello's collaboration with Michelozzo, it was most likely produced for private devotion and possibly commissioned by the Pazzi family for their home in Florence. [4]
Entrance portal for the Basilica of Saint Nicholas of Tolentino, 1432–1435. A number of smaller works before 1410 are attributed to him, especially some of a type of half-length Virgin and Child in relief or free-standing, of which many versions survive in various materials, and for which Lorenzo Ghiberti may have produced the prototypes, leading to them sometimes being called the "madonna ...
He came from a family of stone carvers and stonemasons in Settignano, near Florence.Although his work shows the influence of Donatello, specifically in his use of low reliefs, it is most likely that he received his training in the large Florentine workshop run by Bernardo and Antonio Rossellino. [1]