194:(c. 1230s). While the Bamberg Horseman depicts a German emperor, it lacks the dimension, power, and naturalism of Gattamelata. While that rider is also in fairly realistic proportion to his horse, he lacks the strength of Gattamelata. The latter is portrayed as a real man, his armor a badge of status; this ruler, however, appears almost deflated, lost in the carefully sculpted drapery that covers him. His power is derived solely from his crown, reflecting the differences that Renaissance individualism produced: here, position – the crown – is what matters, whereas in Gattamelata, it is the individual and his character that matter.
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made many advances to solidify the "terra" or earth around Venice for the
Venician Government. This statue was raised by his family to honor the General. <Dr. Beth Harris and Dr. Steven Zucker. Khan Academy>. This is especially weird and noticeable as Gattamelata was not a head of state. Gattamelata is portrayed as a warrior figure, carrying a baton symbolising his military leadership and with a lengthy sword. While Gattamelata died in his 70s, Donatello depicts him at the height of his power, further emphasizing his might and abilities.
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142:, where a sort of hierarchy of size demonstrates the subject's power, Donatello used emotion, position, and symbolism to convey the same message. Thus, Donatello makes a statement of the power of the real-life individual; he does not need to embellish or make grander whom Gattamelata was – the simple depiction of the real man is enough to convey his power.
127:.) Measuring 340 x 390 cm (the base measuring 780 x 410 cm), it is the earliest surviving Renaissance equestrian statue and the first to reintroduce the grandeur of Classical equestrian portraiture. After its conception, the statue served as a precedent for later sculptures honoring military heroes for their continued effort in the wars.
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dominance and determination. Marcus' horse is dressed up, and, while the emperor himself is clad in robes, not armor, he appears both the political and military leader. The attention to the horse's musculature and movement and the realistic depiction of the emperor (forgiving his size) are mirrored in
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Donatello also conveys
Gattamelata's power with symbolism. He commands a powerful horse and both appear ready for battle. The horse's front left hoof rests on an orb, a cannonball, which symbolizes military advances, representing his power of the Venician army. Gattamelata was hired by Venice and
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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
197:
A comparison between the sculpture and that of Marcus
Aurelius' equestrian statue shows how closely Donatello looked to classical art and its themes. In this depiction of Marcus Aurelius, the emperor dwarfs his horse, dominating it by size. However, the emperor also has a facial expression of
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The pedestal under the horse is composed of two reliefs toward the top with fake doors underneath. The doors symbolize the gates of the underworld, lending the feeling of a tomb, though the monument was never a burial place. One relief shows
Gattamelata's coat of arms flanked by two
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The horse echoes the alert, self-contained and courageous air of the rider. The realistic depiction of its muscular form reveals the
Renaissance concern with anatomical study that was later developed in Leonardo da Vinci's studies for the Sforza equestrian monument.
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method. The statue sits on a pedestal, and both the condottiero and his horse are portrayed in life size. Instead of portraying the soldier as larger-than-life, as in the classical
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Another element that
Donatello took from ancient sculpture is the trick of adding a support (a sphere) under the raised front leg of the horse, which appears also in the lost
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Sullivan, Mary Ann. "Equestrian monument of Erasmo da Narni, called
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is a sharp departure from earlier, post-Classical equestrian statues, such as the Gothic
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225:. In this sculpture a standing cat was used to carry the load under the horseshoe.
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Sullivan, Mary Ann. "Equestrian monument of Erasmo da Narni, called
Gattamelata".
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that are pointing to it. The other relief is of angels displaying battle armor.
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The statue, as were all bronze statues of this time, was made using the
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The statue is directed away from the Piazza and the
Cathedral complex
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431:'Equestrian Statue of Gattamelata' Analysis and Critical Reception
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387:"The Early Renaissance: 1400–1494." Web. 28 February 2010.
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The Ascension with Christ Giving the Keys to Saint Peter
99:, known as "Gattamelata", who served mostly under the
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Draper, James David. "Donatello (ca. 1386–1466)". In
88:, dating from 1453, today in the Piazza del Santo in
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After Erasmo of Narni's death in 1443, according to
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Equestrian Statues and Paintings of the Renaissance
381:. New York: The Metropolitan Museum of Art, 2000.
213:, a bronze equestrian statue from either the late
419:Donatello’s Gattamelata and its Humanist Audience
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346:"Donatello's Equestrian Monument of Gattamelata"
291:Draper, James David. "Donatello (ca 1386–1466)”.
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333:Fred S. Gardner’s Art Through the Ages
320:Fred S. Gardner’s Art Through the Ages
167:themes of individualism and humanism.
16:Sculpture by Donatello in Padua, Italy
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136:Equestrian Statue of Marcus Aurelius
77:The Equestrian Statue of Gattamelata
720:Madonna and Child with Four Cherubs
611:Tomb of Cardinal Rainaldo Brancacci
436:Bronze Sculpture in the Renaissance
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561:Saint George Freeing the Princess
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379:Heilbrunn Timeline of Art History
911:Monuments and memorials in Padua
815:Lamentation over the Dead Christ
800:Equestrian statue of Gattamelata
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188:Equestrian statue of Gattamelata
25:Equestrian statue of Gattamelata
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69:Piazza del Santo, Padua, Italy
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779:Basilica del Santo Crucifix
605:Tomb of Antipope John XXIII
427:from the Web Gallery of Art
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906:Sculptures by Donatello
592:Saint Louis of Toulouse
692:Saint John the Baptist
425:Biography of Donatello
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877:45.40139°N 11.87972°E
830:Judith and Holofernes
625:The Baptism of Christ
599:San Rossore Reliquary
438:by James David Draper
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685:Putti candle-holders
671:Madonna of the Cords
532:Huldschinsky Madonna
510:Santa Croce Crucifix
496:Madonna of the Apple
393:4 March 2016 at the
268:History of sculpture
223:Exarchate of Ravenna
215:Western Roman Empire
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527:(marble, 1408–1409)
219:Ostrogothic Kingdom
121:John Julius Norwich
109:Italian Renaissance
882:45.40139; 11.87972
807:Penitent Magdalene
633:The Feast of Herod
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705:Madonna and Child
699:Sagrestia Vecchia
421:by Mary Bergstein
399:Kleiner, Fred S.
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357:. Retrieved
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833:(1457–1464)
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810:(1453–1455)
794: 1450
781:(1444–1447)
758: 1440
743: 1440
735:Amore-Attis
728: 1440
713: 1440
687:(1434–1439)
679: 1433
664: 1428
649: 1425
618: 1427
607:(1424–1427)
601:(1424–1427)
595:(1423–1425)
587:(1423–1425)
579:(1418–1420)
569: 1415
550:(1411–1413)
540: 1410
517: 1406
504: 1400
200:Gattamelata
115:Description
94:condottiere
895:Categories
868:11°52′47″E
865:45°24′05″N
547:Saint Mark
488:Sculptures
372:References
768:(bronze,
481:Donatello
318:Kleiner,
125:See below
86:Donatello
44:Donatello
760:or 1460)
576:Marzocco
391:Archived
359:25 March
335:, p. 551
331:Kleiner,
229:See also
207:Regisole
132:lost wax
66:Location
841:Related
584:Zuccone
322:, p 551
107:of the
825:–1460)
802:(1453)
745:–1443)
695:(1438)
681:–1435)
666:–1430)
651:–1430)
636:(1425)
628:(1425)
620:–1428)
571:–1417)
542:–1430)
519:–1408)
506:–1425)
217:, the
162:Detail
80:is an
61:Bronze
40:Artist
765:David
524:David
279:Notes
211:Pavia
154:Style
148:putti
90:Padua
558:and
361:2013
186:The
140:Rome
58:Type
53:1453
50:Year
352:at
209:of
138:in
84:by
897::
820:c.
791:c.
770:c.
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725:c.
710:c.
676:c.
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296:^
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