205:(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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153:, 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.
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138:.) 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
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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
Gattamelata." 2006. Web. 28 February 2010.
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is a sharp departure from earlier, post-Classical equestrian statues, such as the Gothic
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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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442:'Equestrian Statue of Gattamelata' Analysis and Critical Reception
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398:"The Early Renaissance: 1400–1494." Web. 28 February 2010.
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The Ascension with Christ Giving the Keys to Saint Peter
110:, known as "Gattamelata", who served mostly under the
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Draper, James David. "Donatello (ca. 1386–1466)". 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
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392:. New York: The Metropolitan Museum of Art, 2000.
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430:Donatello’s Gattamelata and its Humanist Audience
357:"Donatello's Equestrian Monument of Gattamelata"
302:Draper, James David. "Donatello (ca 1386–1466)”.
412:Gardner's Art Through the Ages A Global History
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284:Equestrian statue of Bartolomeo Colleoni
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344:Fred S. Gardner’s Art Through the Ages
331:Fred S. Gardner’s Art Through the Ages
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178:themes of individualism and humanism.
27:Sculpture by Donatello in Padua, Italy
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147:Equestrian Statue of Marcus Aurelius
88:The Equestrian Statue of Gattamelata
731:Madonna and Child with Four Cherubs
622:Tomb of Cardinal Rainaldo Brancacci
447:Bronze Sculpture in the Renaissance
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572:Saint George Freeing the Princess
390:Heilbrunn Timeline of Art History
922:Monuments and memorials in Padua
826:Lamentation over the Dead Christ
811:Equestrian statue of Gattamelata
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199:Equestrian statue of Gattamelata
36:Equestrian statue of Gattamelata
18:Equestrian Statue of Gattamelata
80:Piazza del Santo, Padua, Italy
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937:Tourist attractions in Veneto
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912:Equestrian statues in Italy
790:Basilica del Santo Crucifix
616:Tomb of Antipope John XXIII
438:from the Web Gallery of Art
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957:Sculptures of men in Italy
927:Bronze sculptures in Padua
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103:, Italy. It portrays the
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917:Sculptures by Donatello
603:Saint Louis of Toulouse
703:Saint John the Baptist
436:Biography of Donatello
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888:45.40139°N 11.87972°E
841:Judith and Holofernes
636:The Baptism of Christ
610:San Rossore Reliquary
449:by James David Draper
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696:Putti candle-holders
682:Madonna of the Cords
543:Huldschinsky Madonna
521:Santa Croce Crucifix
507:Madonna of the Apple
404:4 March 2016 at the
279:History of sculpture
234:Exarchate of Ravenna
226:Western Roman Empire
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538:(marble, 1408–1409)
230:Ostrogothic Kingdom
132:John Julius Norwich
120:Italian Renaissance
893:45.40139; 11.87972
818:Penitent Magdalene
644:The Feast of Herod
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112:Republic of Venice
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716:Madonna and Child
710:Sagrestia Vecchia
432:by Mary Bergstein
410:Kleiner, Fred S.
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116:equestrian statue
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368:. Retrieved
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361:Smarthistory
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821:(1453–1455)
805: 1450
792:(1444–1447)
769: 1440
754: 1440
746:Amore-Attis
739: 1440
724: 1440
698:(1434–1439)
690: 1433
675: 1428
660: 1425
629: 1427
618:(1424–1427)
612:(1424–1427)
606:(1423–1425)
598:(1423–1425)
590:(1418–1420)
580: 1415
561:(1411–1413)
551: 1410
528: 1406
515: 1400
211:Gattamelata
126:Description
105:condottiere
906:Categories
879:11°52′47″E
876:45°24′05″N
558:Saint Mark
499:Sculptures
383:References
779:(bronze,
492:Donatello
329:Kleiner,
136:See below
97:Donatello
55:Donatello
771:or 1460)
587:Marzocco
402:Archived
370:25 March
346:, p. 551
342:Kleiner,
240:See also
218:Regisole
143:lost wax
77:Location
852:Related
595:Zuccone
333:, p 551
118:of the
836:–1460)
813:(1453)
756:–1443)
706:(1438)
692:–1435)
677:–1430)
662:–1430)
647:(1425)
639:(1425)
631:–1428)
582:–1417)
553:–1430)
530:–1408)
517:–1425)
228:, the
173:Detail
91:is an
72:Bronze
51:Artist
776:David
535:David
290:Notes
222:Pavia
165:Style
159:putti
101:Padua
569:and
372:2013
197:The
151:Rome
69:Type
64:1453
61:Year
363:at
220:of
149:in
95:by
908::
831:c.
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721:c.
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359:.
307:^
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
