* Donatello's magnificent equestrian statue of the Venetian general Gattamelata ( Erasmo da Narni ) can be found on the piazza in front of the Basilica di Sant ' Antonio da Padova.

Donatello's equestrian statue of Erasmo of Narni | Gattamelata at Padua.

This is in contrast to Donatello's statue at Padua of the condottiere known as Gattamelata with its " air of calm command " and all Verrocchio's effort " has been devoted to the rendering of movement and of a sense of strain and energy ".

For Donatello's equestrian statue, see Gattamelata ( Donatello )

Detail of Donatello's equestrian statue of Gattamelata.

Donatello's equestrian statue of Gattamelata.

He is, in part, known for his work in bas-relief, a form of shallow relief sculpture that, in Donatello's case, incorporated significant 15th-century developments in perspectival illusionism.

This is now Donatello's most famous work.

Replicas of two earlier Davids by Donatello's David and Verrocchio's David, are also included, although for conservation reasons the Verrocchio replica is displayed in a glass case.

The most distinguished of these is the bronze group of Perseus with the Head of Medusa, a work ( first suggested by Duke Cosimo I de Medici ) now in the Loggia dei Lanzi at Florence, his attempt to surpass Michelangelo's David and Donatello's Judith and Holofernes.

Verrocchio's David is a young lad, modestly clad, contrasting with Donatello's provocative David.

The marble David is Donatello's earliest known important commission, and it is a work closely tied to tradition, giving few signs of the innovative approach to representation that the artist would develop as he matured.

A second is to suggest that the work refers to homosocial values in Florentine society without expressing Donatello's personal tendencies.

A third interpretation is that David represents Donatello's effort to create a unique version of the male nude, to exercise artistic license rather than copy the classical models that had thus far been the sources for the depiction of the male nude in Renaissance art.

The Biblical hero is depicted naked with the head of Goliath at his feet like Donatello's David, but with a turbanned head and sheathing his long sword.

In the original English language voice version of the show, Donatello's voice actor is Barry Gordon, who also voices Bebop.

It is considered one of the most original and complex paintings in Western art ; according to Ernst Gombrich " in its own way it was as new and revolutionary as Donatello's or Masaccio's work in Italy.

Casey Jones is a playable character in the NES and Sega Genesis versions of Teenage Mutant Ninja Turtles: Tournament Fighters, and he appears in the background in Donatello's stage in the SNES version.

Donatello's Saint Mark ( 1411 – 1413 ) is a marble statue that stands approximately seven feet and nine inches high in an exterior niche of the Orsanmichele church, Florence.

Donatello's sculpture is notable for its detailed realism, evidence of the artist's skills.

The contrapposto pose, or natural pose, is used with Donatello's St. Mark.

Also Donatello's sculpture differs from medieval works in the way that drapery is used, specifically in that St. Mark's figure is revealed by a realistic draping of linen.

It has been suggested that Masaccio's first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study Brunelleschi's more scientific approach to perspective.

Corey Feldman famously provides Donatello's voice in the first and third live-action films, while Adam Carl filled in for the second movie during Feldman's stint in rehabilitation.

* Donatello, figure of St. John the Baptist in the first south choir chapel, Donatello's first documented work in Venice

Ernie Reyes Jr., who was Donatello's fight double in the first film, was cast as a new character, Keno, as the producers admired Reyes and his performance in the first movie, so much they asked him to join in this sequel.

He was the subject of Donatello's equestrian bronze sculpture in the main square of Padua, the same city over which he became dictator in 1437.

While the Bible describes David as a beautiful youth, and we can accept a classical basis for the pose and the nudity of the statue ( Greco-Roman heroes were typically portrayed as nude males standing in contrapposto ), there are nevertheless several disconcerting elements to Donatello's David.

Image: Firenze. PalVecchio. Donatello. JPG | Donatello's statue Judith and Holofernes

The artist presented his relief of the Deposition to Charles V at Genoa in 1529 ; though the relief has been lost, a bronze from it by Antonio Susini in 1600 ( Musée du Louvre ) shows the decisive inspiration of Donatello's emotional pitch and intensity ; Bandinelli made several drawings of the Donatello reliefs, though later in life he disparaged them in a letter to Cosimo I de ' Medici.

He was familiar with early Humanist-inspired sculptural works such as Donatello's bronze David, and had himself responded by carving the enormous nude marble David which was placed in the piazza near the Palazzo Vecchio, the home of Florence's council.

One of those statues had been made by Donatello in 1410, a figure of Joshua made of terracotta, and a second, also a terracotta, but this time of Hercules, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 ; scholars suggest that Agostino was working under Donatello's direction.

But according to Donatello's calculations ; they must do it within 60 hours, otherwise the scepter's power will disappear due to the space-time continuum being out of sync.

Among other works of art and literature to which Paglia applies her analysis of the Western canon are: the Venus of Willendorf, the Bust of Nefertiti, Ancient Greek sculpture, Donatello's David, Sandro Botticelli's Birth of Venus and Primavera, Leonardo Da Vinci's Mona Lisa and The Virgin and Child with St. Anne, Michelangelo, Edmund Spenser's The Faerie Queene, William Shakespeare's As You Like It and Antony and Cleopatra, Jean-Jacques Rousseau, Marquis de Sade, Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship, William Blake, William Wordsworth, Samuel Taylor Coleridge's Rime of the Ancient Mariner, Lord Byron's Don Juan, Percy Bysshe Shelley, John Keats, Honoré de Balzac, Théophile Gautier, Charles Baudelaire, Joris-Karl Huysmans, Emily Brontë's Wuthering Heights, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, Henry James, The Pre-Raphaelites, Jean Auguste Dominique Ingres, Algernon Charles Swinburne, Walter Pater, Oscar Wilde's The Importance of Being Earnest and The Picture of Dorian Gray, and Emily Dickinson.

File: Donatello-The Ascension with Christ giving the Keys to St Peter. jpg | Donatello — One of the finest surviving examples of Donatello's work in rilievo schiacciato

The mosaics of Pietro Cavallini in Santa Maria in Trastevere in Rome ( 1291 ), the frescos of Giotto in the Scrovegni Chapel in Padua ( 1303 ), Domenico Ghirlandaio's fresco at the church of Santa Maria Novella in Florence ( 1486 ), and Donatello's gilded sculpture at the church of Santa Croce, Florence ( 1435 ) are famous examples.

Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a potent influence upon the artists of the age.

The niche itself was not of Donatello's hand, but created most probably by two stone carvers named Perfetto di Giovanni and Albizzo di Pietro.

Yet, details of Donatello's relationships remain speculative.

Donatello's return to Florence almost coincided with Cosimo's.

Bandinelli was a leader in the group of Florentine Mannerists who were inspired by the revived interest in Donatello attendant on the installation of Donatello's bas-relief panels for the pulpit in San Lorenzo, 1515.

His work displays true understanding for the crystalline luminosity of marble and how a gently polished and modulated surface could produce an inner glow and how Donatello's famed rilievo schiacciato could be further refined to convey a sense of light softly diffused by its passage through atmosphere.

It was moved to the Pitti Palace in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Bargello museum, where it remains today. Left side of Donatello's David