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Though the "Penitent Magdalene" was the usual depiction for the many single figures of Mary Magdalene in art, Donatello's gaunt, emaciated figure differs greatly from most depictions, which show a beautiful young woman in nearly perfect health. The Magdalene Penitent is famous for the detailed and very realistic carvings on the statue.
Penitent Magdalene or Penitent Magdalen refers to a period of repentance in the life of Mary Magdalene, according to medieval legend, and a large number of artworks showing this subject, including: Penitent Magdalene, 1453–1455 wooden statue by Donatello; Penitent Magdalene, c. 1597 painting by Caravaggio
Penitent Magdalene (Donatello) R. Rabboni (sculpture) ... Saints Jerome and Mary Magdalen (Bernini) This page was last edited on 19 May 2024, at 07:07 (UTC). Text ...
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 ...
All accounts describe Donatello as amiable and well-liked, but rather poor at the business side of his career. [3] Like (not only) Michelangelo in the next century, he tended to accept more commissions than he could handle, [4] and many works were either completed some years late, handed to other sculptors to finish, or never produced.
Mary Magdalene [a] (sometimes called Mary of Magdala, ... Penitent Magdalene (c. 1454) by Donatello, showing her as "an old, emaciated and toothless woman ...
Brunelleschi Crucifix, Gondi Chapel, Santa Maria Novella, Florence The Brunelleschi Crucifix is a polychrome painted wooden sculpture by the Italian artist Filippo Brunelleschi, made from pearwood around 1410-1415, and displayed since 1572 in the Gondi Chapel at the church of Santa Maria Novella in Florence.
Erasmo da Narni (Gattamelata) sits high on his horse, looking out to the distance. The emotion on his face is serious. Donatello portrays Gattamelata as a composed, alert and watchful leader. The depiction of force of character and the reference to the power of real people flows with the Renaissance themes of individualism and humanism.