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Crucifixion

Nimi Klass Kuupäev

Donatello, Crucifixion (1465), Museo Nazionale del Bargello. Avalik omand Vaadake seda künist liikudes: joon, lakki all asuv tõeline värv ja puhas pigment

Faktid

Kunstnik
Donatello originaluniqueart.com/et/artists/donatello_et/
Kunstniku eluaastad
1386 – 1466
Maalatud
1465
Tehnika
Bronze Molten metal poured into a mould made from the artist’s model, then finished and polished by hand.
Originaalmõõtud
93 x 70 cm
Period
Renaissance
Peetud koht:
Museo Nazionale del Bargello originaluniqueart.com/et/museums/museo-nazionale-del-bargello-florencia_et/
Artistic style
Classical Influence
Influences
Classical Sculpture
Notable elements or techniques
Intricate facial expressions & body language
Subject or theme
Religious Iconography

Kontekstis

Crucifixion — Donatello

Mis on selle suurus?

Originaali mõõdud on 93 × 70 cm (kõrgus × laius); teos on joonistatud siin võrdluseks keskmise kõrgusega täiskasvanuga.

Millal see maalis on tehtud?

  1. 1380
  2. 1390
  3. 1400
  4. 1410
  5. 1420
  6. 1430
  7. 1440
  8. 1450
  9. 1460

Ülemine rida: aastad. Alumine rida: kunstniku vanus iga perioodi alguses ja lõpus — 0 sünni hetkel, 80 surumisel.

Maalatud siis, kui kunstnik oli 79 aastane. Kunstnik elas 80 aastani. 99 meie kataloogis olevatest selle kunstniku 107 dateeritud teosest on loodud varem.

Varjatud: Donatello eluajal (1386–1466) ▲ see teos, 1465 iga dateeritud maal, aastakümne kaupa

Esimesed teosed: kuni 1423 Peamised töötusaastad: 1423–1447 Hilisemad teosed: aastast 1447

Need kolm osa jagavad selles kataloogis kuupäevaga märgitud teosed esimeseks neljanüüdiks, keskmiseks pooleks ja viimaseks neljanüüdiks. Need ei kujuta endast kunstniku tervikut: vähem produktiivne periood võib tähendada hoopis puudut teose kataloogist, mitte pelgalt vaikset aega. Samad aastad koos kunstniku eluluga

Sarnased teosed

Vali üks eelnev teos: too kaks asja, mis sellega ühendavad, ja üks asi, mis sellest erineb.

Veel sarnaseid teoseid, mida selle kõrvale asetada: originaluniqueart.com/et/art/similar/donatello-crucifixion-8EWEW7-en/

Värvigamma

Pildist mõõdetud palett

    Peavärv

    Quinacridone Magenta #705955

    Salvestatud palett

    • #705955
    • #4C3735
    • #BAA084
    • #8F766B

    Need värvid kunstniku kogu paleti sees Leia teisi maaleid värvi järgi

    Palett
    Earthy Pildis domineeriv värvigrupp.
    Peavärvi nimi
    Quinacridone Magenta
    Intensiivsus
    Balanced Kui kütkestavad ja mitmekülgsed värvid on, alates ühest peenust toonist kuni paljude ere värvini.
    Kontrast
    Gentle Kuidas värvid pildil valguse ja kяmbuse osas erinevad.
    Harmonia
    Balanced Harmony Värvide omavaheline kooskõlevus, alates kontrastsetest kuni täielikult ühtlaste toonidega.
    Ereus
    Balanced Kuidas pilt üldiselt vaatub – alates sügavast varjust kuni eredast kõrvalvalgusest.
    Kintus
    Subtle Color Värvide puudus ja intensiivsus ulatub halli lähedastest toonidest kuni täielikult elavate värvide kuni.

    Kus maailmas seda maali vaadatakse?

    • alla 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ja rohkem
    Selle maali külastajate arv on dokumenteeritud liiga vähe, et teha kaardi koostamist, seega on plaat kujutanud kõik Donatello teosed viimase zwölf kuuga — kokku 15 riiki. Kust need numbrid pärinevad

    Üheksakümmend juhtivat riiki

    1. 1 Hiina 59,0%
    2. 2 Hong Kong 11,4%
    3. 3 Ameerika Ühendriigid 8,6%
    4. 4 Itaalia 6,7%
    5. 5 Brasiilia 3,8%
    6. 6 Saksamaa 1,9%
    7. 7 Austria 1,0%
    8. 8 Šveits 1,0%
    9. 9 Kolumbia 1,0%
    10. 10 Tšehhi 1,0%
    11. · 5 teist riiki 4,6%

    Leia kaardilt kolm kõige pimedamat riiki. Kas seda maali hoiustav muuseum asub mõnes neist? Kirjuta üles üks põhjus, miks kauguse poolest inimesed seda vaadata võivad.

    Donatello kõige vaadatavamad teosed (kokku 20)

    1. 1 David, 1430 7,6%
    2. 2 Pulpit, 1438 3,1%
    3. 3 Evangelist Luke, 1428 3,1%
    4. 4 Equestrian Statue of Gattamelata (detail), 1447 3,1%
    5. 5 Pietà, 1447 3,1%
    6. 6 Pazzi Madonna 3,1%
    7. 7 David 3,1%
    8. 8 Herod's Banquet, 1427 2,3%
    9. 9 Equestrian Statue of Gattamelata (11), 1447 2,3%
    10. 10 Pulpit (on the left), 1465 2,3%
    11. 11 South pulpit, 1460 2,3%
    12. 12 Cantoria (9), 1439 2,3%
    13. 13 Entombment, 1447 2,3%
    14. 14 Annunciation, 1435 2,3%
    15. 15 Madonna and Child between St Francis and St Anthony, 1448 2,3%
    16. 16 Musician Angels, 1447 2,3%
    17. 17 Equestrian Statue of Gattamelata, 1447 2,3%
    18. 18 St John the Baptist, 1438 2,3%
    19. 19 St George (detail), 1416 2,3%
    20. 23 Crucifixion, 1465 see maalaus 1,5%

    Koos kattavad need teosed 55,3% kogu sellest tähelepanust, mida selle kunstniku maalid möödunud zwölf kuud on saanud. Kataloogis on 143 seda kunstnikku kuuluvat teost, millest 67 on vähemalt üks kord vaadatud. See maalid on nende seas 23 kohal, selle tähelepanu osaga 1,5%. Sama arv, kuu-kuu põhjal

    Tugid mõõdavad tähelepanu, mitte kvaliteeti. Valige tippkohtadel olevad teosed ja see üks: nimetage üks asi, mis võib muuta maali kuulsaks, lisaks sellele, kui hästi on see maalitud.

    Teose kirjeldus

    Crucifixion — Donatello

    A Moment Frozen in Time: Donatello’s Crucifixion

    The bronze sculpture “Crucifixion” by Donatello stands as an enduring testament to the artistic fervor of the Florentine Renaissance, capturing not merely a biblical narrative but also the profound emotional complexities inherent within it. Created in 1465 for Santa Croce Basilica in Florence, this masterpiece transcends its religious subject matter to become a cornerstone of humanist ideals and sculptural innovation.

    The Artist’s Vision: Classical Influence Meets Spiritual Depth

    Donatello (1386-1466), born into a family of sculptors, emerged as one of the foremost figures shaping the artistic landscape of his era. His formative years were steeped in classical sculpture—the rediscovery and emulation of Greek and Roman forms fueled an unprecedented stylistic revolution. Unlike preceding medieval art, which prioritized stylized representations and symbolic ornamentation, Donatello championed anatomical accuracy and naturalistic detail, mirroring the humanist preoccupation with human form and intellect. This commitment to realism is palpable throughout his oeuvre, most notably in “David,” a monumental statue that redefined nude sculpture and cemented Donatello’s reputation as a pioneer of Renaissance aesthetics.

    Technical Mastery: Bronze Casting and Anatomical Precision

    The Crucifixion exemplifies Donatello's unparalleled technical skill. Crafted from bronze—a material chosen for its durability and ability to capture subtle nuances of form—the sculpture underwent a complex casting process, utilizing the lost wax method. This technique allowed for exceptional precision in replicating human anatomy, resulting in a remarkably lifelike depiction of Jesus Christ on the cross. Donatello meticulously studied cadavers to achieve an unprecedented level of anatomical accuracy, surpassing previous artistic conventions and establishing a new standard for sculptural representation. The surface finish is polished to a luminous sheen, enhancing the sculpture’s visual impact and conveying a sense of solemn grandeur.

    Symbolism and Narrative Resonance: A Reflection of Renaissance Thought

    Beyond its technical brilliance, “Cruifixion” resonates deeply with the philosophical currents of the Renaissance. The sculpture portrays Jesus Christ in agony—a deliberate choice that underscores the humanist preoccupation with human suffering and mortality. Unlike depictions emphasizing divine majesty, Donatello’s portrayal focuses on Christ's physical torment, prompting contemplation on themes of compassion, sacrifice, and redemption. The positioning of Christ’s body—with arms outstretched—is a deliberate allusion to classical iconography, symbolizing humility and acceptance of divine judgment. Furthermore, the sculpture’s placement within Santa Croce Basilica served as a powerful visual reminder of Christian faith and spiritual devotion.

    Emotional Impact: A Timeless Expression of Suffering

    “Cruifixion” continues to captivate viewers centuries after its creation due to its profound emotional impact. Donatello skillfully conveys Christ's anguish through subtle gestures and facial expressions—a testament to his mastery of psychological realism. The sculpture’s solemn atmosphere evokes feelings of empathy and reverence, prompting reflection on the human condition and the significance of faith. Its enduring presence within Santa Croce Basilica ensures that “Cruifixion” remains a poignant symbol of Christian piety and artistic excellence, inspiring awe and contemplation for generations to come.

    Further Exploration

    For those interested in delving deeper into Donatello’s legacy, consider visiting Museo Nazionale del Bargello in Florence, where David resides alongside numerous other sculptures showcasing his distinctive style. Examining reproductions of “Crucifixion” can offer valuable insight into the artistic innovations that defined the Florentine Renaissance and solidified Donatello's place as one of history’s greatest sculptors.

    Kunstnik ja muuseum

    Kunstnik

    Donatello

    Sündinud koht: Firenze, Italia

    varaj varaj ja karjäär

    Donato di Niccolò di Betto Bardi, tuntud maailmas kui Donatello, sündis umbes aastal 1386 Italias, Florentis. Tema õpingud klassikalises skulptuuris avaldas sügavat mõju tema varajase renessansstiili arengule, luues uue suuna kunstile ja kultuurile, mis sai hiljem kogu florentlase renessanssi üks peamisi sümboleid.

    olulised teosed ja uuendused

    Donatello kõige kuulsam teos, David, oli pärast antiigi aegu esimene iseseisva, alast meises skulptuur. Medici perekonna tellimusena ilmus see teos, demonstreerides tema innovatiivset stiili ja tehnilist meistriklassi. Teisi märkimisväärseid teoseid on:

    Püha Louis Toulouse'ist (praegu Santa Crocen basilica muuseumis), mis sisaldas Donatello enda poolt loodud klassikalist raami.

    Isaaki ohverdamine, mis loodi Florentis Santa Maria del Fiore campanile jaoks, iseloomustades tugevaid portreemaisia detaile.

    Ristiloom (1425) Santa Crocelle, mis kujutas Kristust vaevatud hetkel.

    kunstiline stiil ja pärand

    Donatello stiili võib jagada laadeks, alates ekspressiivsuse ja klassikalise monumentaalsuse arendamisest. Kuigi tema tööde eest ei võetud kogukond kohe vastu, sai ta lõpuks üks populaarsemaid kunstnereid, mõjutades nii teisi itaalseid õukondi kui ka kogu Euroopa kunstnikke. peamised kunstiliikumid:

    itaalia renessanss

    varajane renessanss

    florentlase renessanssi kunst

    isiklik elu ja tööstiil

    Donatello oli tuntud oma sõbralikkuse ja meeldivuse poolest, kuid tema karjääri äriosa oli keeruline. Ta tenditesid võtma vastu rohkem tellimusi, kui suutsid teostada, lõpetades töud sageli hiljaks või delegeerides need teistele skulptureйдеle. olulised teosed ja kunstnikud:

    Leonardo da Vinci: Annunciation (detail)

    Amico Aspertini: Pan statue/leone che azzanna un cavallo

    Michelangelo Buonarroti: Tondo Pitt

    muuseumid ja kunstikolektsioonid:

    Museo della Collegiata (Empoli, Itaalia): renessanssi peidetud pärl, mis esitleb Francesco Botticini ja Raffaello Botticini teoseid.

    Varajase itaalse renessanssi kunstiliikumine

    Muuseum

    Museo Nazionale del Bargello

    Näitustel paikal Florencia, Italia

    A Sanctuary of Renaissance Sculpture: The Museo Nazionale del Bargello

    Nestled within the formidable walls of Palazzo Vecchio in Florence’s Piazza della Signoria, the Museo Nazionale del Bargello is more than simply a museum; it's an immersive journey into the heart of the Italian Renaissance. Originally conceived as the seat of Florentine magistrates – a fortress designed to project power and justice – this imposing structure has undergone a remarkable transformation over centuries, evolving into one of the world’s foremost repositories for sculpture and decorative arts. Stepping through its ancient doors is akin to entering a living testament to Florence's artistic revolution, a place where the echoes of powerful decisions mingle with the breathtaking beauty of masterpieces crafted by giants like Donatello, Michelangelo, and Cellini.

    The Bargello’s fame rests entirely upon the extraordinary concentration of sculptural works housed within its walls. Unlike sprawling museums that attempt to encompass an overwhelming breadth of artistic styles, the Bargello offers a profoundly focused experience, allowing visitors to truly appreciate the nuances and innovations of a select group of artists who fundamentally reshaped Western artistic conventions. The collection’s core is undeniably dominated by Donatello – his works acting as the very cornerstone upon which the museum's identity is built. His early marble David, a remarkably youthful and confident figure, stands not merely as a statue but as a pivotal moment in art history: a declaration of humanism’s burgeoning influence, a bold rejection of the more rigid, idealized depictions prevalent in preceding eras. The subtle musculature, the palpable sense of potential radiating from this young David, embodies Florence's intellectual awakening with an unparalleled immediacy – a feeling that resonates even today.

    Beyond Donatello, the museum’s treasures unfold like chapters in a Renaissance narrative. Michelangelo’s early works are equally captivating, offering glimpses into the genius that would later blossom into some of history’s most celebrated sculptures. Bacchus, a testament to his burgeoning talent, is imbued with an intoxicating sensuality and a masterful understanding of form – a delicate balance between earthly pleasure and divine inspiration. Powerful figures like Brutus and another interpretation of David-Apollo reveal the seeds of the artistic vision that would define his legacy, showcasing the evolution of his style from youthful experimentation to monumental grandeur.

    The Palazzo: A Fortress Transformed

    What truly distinguishes the Museo Nazionale del Bargello is not just its collection, but also the building itself – a medieval fortress reborn as a museum. Originally conceived as the seat of Florentine magistrates, the Palazzo del Bargello’s history is inextricably linked to the city's political and legal landscape. Its imposing structure—a testament to Roman engineering principles adapted with masterful medieval craftsmanship—whispers tales of power, justice, and ultimately, artistic revolution. The courtyard, once a space for public trials and executions, now houses a stunning collection of arms and armor, offering a stark reminder of the building’s original purpose while simultaneously celebrating its transformation into an artistic sanctuary. The very walls seem to hold the weight of centuries, bearing witness to the ebb and flow of Florentine history.

    A Tapestry of Decorative Arts

    While sculpture dominates the Bargello's collection, its artistic scope extends far beyond, offering a fascinating glimpse into the broader decorative arts landscape of Florence during the Renaissance. The palazzo’s halls are adorned with an impressive array of ceramics from the Della Robbia workshop – their vibrant glazes and gentle forms bringing a touch of serenity to the space. Bronzes, ivories, textiles, and even historical arms & armor add further layers of richness and complexity. These often-overlooked elements provide crucial context for understanding the Renaissance as a holistic cultural phenomenon—a vibrant tapestry woven from threads of art, craftsmanship, and social aspiration. The collection speaks not just to artistic skill but also to the economic prosperity and patronage that fueled this remarkable era.

    Architectural Significance & Accessibility

    The Museo Nazionale del Bargello is more than simply a museum; it’s an architectural marvel. Palazzo Vecchio, originally built as a fortress in the 13th century, has been meticulously transformed over centuries into a space that honors both its military origins and its artistic legacy. The building's design reflects Florentine history—a testament to Roman engineering principles adapted with masterful medieval craftsmanship. The museum is committed to accessibility for all visitors, offering facilities for disabled access, including ramps, elevators, and accessible restrooms. Guided tours are available, providing invaluable insights into the collection’s highlights and the palazzo’s rich history.

    Notable Exhibitions & Ongoing Treasures

    The Museo Nazionale del Bargello regularly hosts temporary exhibitions that delve deeper into specific aspects of its collection or explore connections between Renaissance art and other historical periods. These events offer fresh perspectives on the museum’s treasures, attracting both seasoned scholars and casual visitors alike. Beyond these temporary displays, the permanent collection remains a constant source of wonder, with each sculpture – from Donatello's youthful David to Michelangelo’s sensual Bacchus – inviting contemplation and offering a profound connection to the artistic genius of the Italian Renaissance. The museum continues to be a vital center for research and scholarship, ensuring that Florence’s artistic heritage will endure for generations to come.

    Loe lähemalt siit

    Leidke seda internetist

    QR-kood, mis viib Crucifixion allalaadimislehele

    originaluniqueart.com/et/art/download/donatello-crucifixion-8EWEW7-en/

    Viige seda teost allintena

    MLA
    Donatello. Crucifixion. 1465, Museo Nazionale del Bargello. https://originaluniqueart.com/et/art/donatello-crucifixion-8EWEW7-en/
    APA
    Donatello (1465). Crucifixion [Painting]. Museo Nazionale del Bargello. https://originaluniqueart.com/et/art/donatello-crucifixion-8EWEW7-en/
    Chicago
    Donatello. Crucifixion. 1465. Museo Nazionale del Bargello. https://originaluniqueart.com/et/art/donatello-crucifixion-8EWEW7-en/
    Harvard
    Donatello (1465) Crucifixion. Museo Nazionale del Bargello. Available at: https://originaluniqueart.com/et/art/donatello-crucifixion-8EWEW7-en/

    Vaata lähedalt

    Crucifixion — Donatello

    Vaata lähemalt

    Vasta oma sõnadega. Siin ei ole vale vastuseid — on vaid vastuseid, mida saad selgitada.

    1. Mis esimesena silma kõige rohkem paneb ja miks?
    2. Millised värvid või kujundid loovad meeleolu — ja milline see meeleolu on?
    3. Meie kataloog liigitab seda teost kategooria christianity, religion, sculpture alla. Olete nõus? Mida te lisaksin või eemaldasite?
    4. Vaadake tagasi juhendi alguses esitatud teosele Chellini Madonna, recto. Tooge kaks asja, mis sellel ja käesoleva teose vahel ühtevad, ning üks erinevus.
    5. Donatello oli selle teose valvimisel umbes 79 aastane. Mis selles teoses viitab kunstniku sellel kujumisel etapel olnud tööle?

    Teie vastus

    Kirjutage sellest teosest lühike lõik, kasutades selle juhendi varasemate osade fakte ja eelmist annetud vastuseid.

    Kunstiküüpme

    Crucifixion — Donatello

    Kui hästi tunned seda teost?

    Märkige üks vastus iga 5 allpool esitatud küsimuse kohta. Igal on täpselt üks õige vastus.

    1. 1. What is the title of this artwork?

      • A David
      • B St. Louis of Toulouse
      • C The Crucifixion
    2. 2. In which museum is Donatello's Crucifixion housed?

      • A Galleria degli Uffizi
      • B Museo Nazionale del Bargello
      • C Louvre Museum
    3. 3. What year was the Crucifixion created?

      • A 1400
      • B 1455
      • C 1465
    4. 4. Donatello's Crucifixion is considered a masterpiece of which artistic movement?

      • A Baroque
      • B Romanticism
      • C Renaissance
    5. 5. What material was primarily used to create Donatello’s Crucifixion?

      • A Oil Paint
      • B Marble
      • C Bronze

    Minu tulemus: ____ 5 kohta

    Vastuste võti — õpetajale

    See algab uue trükitud lehe, mistするため saab koopiidist lihtsalt eesmislõiguga eemaldada.

    1B · 2A · 3C · 4B · 5C

    Kontrollige kõiki vastuseid selle maali kataloogiplaaniga võrreldes

    Küsimused ja vastused

    Mis on teose „Crucifixion“, autor Donatello loomisaeg?

    Teos "Crucifixion" on pärit aastast 1465. See ajastu aitab mõistust seda teost Donatello karjääri ja selle ajastu kontekstis.

    Kuna teose kuupäev on määratud, millesse Donatello karjääri etappi kuulub teos "Crucifixion"?

    Aasta 1465 asetab teose "Crucifixion" Donatello loomingulise arengu perioodi Early Renaissance etappusesse.

    Kuidas teose „Crucifixion“, autor Donatello värvikompositsioon on üles ehitatud?

    Teose „Crucifixion“, autor Donatello värvikompositsioon ühendab endas Gentle kontrastiga Balanced Harmony harmooniat.