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Crucifixion

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Donatello, Crucifixion (1465), Museo Nazionale del Bargello. Dostopno v javni lastnini. Oglejte si to platno pod premikajočo svetlobo: risbe, pravo barvo pod lakom in golo pigmentacijo

Podrobnosti

Umetnik
Donatello originaluniqueart.com/sl/artists/donatello_sl/
Datumi rojstva in smrti umetnika
1386 – 1466
Naslikano
1465
Material
Bronze Molten metal poured into a mould made from the artist’s model, then finished and polished by hand.
Prvotna velikost
93 x 70 cm
Obdobje
Renaissance
Na lokaciji
Museo Nazionale del Bargello originaluniqueart.com/sl/museums/museo-nazionale-del-bargello-florence_sl/
Artistic style
Classical Influence
Influences
Classical Sculpture
Notable elements or techniques
Intricate facial expressions & body language
Subject or theme
Religious Iconography

V kontekstu

Crucifixion — Donatello

Dimenzije

Prvotne dimenzije so 93 × 70 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine.

Kdaj je bilo to naslikano?

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

Zgornja vrstica: leta. Spodnja vrstica: starost umetnika na začetku in koncu vsakega obdobja — 0 ob rojstvu, 80 ob smrti.

Naslikano, ko je bil avtor star 79. Umetnik je živel 80. 99 od 107 datiranih del tega umetnika v našem katalogu je nastalo prej.

Osenčeno: življenjsko obdobje Donatello (1386–1466) ▲ to delo, 1465 vsaka datirana slika, desetletje za desetletjem

Prva dela: do 1423 Glavni delovni leti: 1423–1447 Pozna dela: od 1447

Ti trije pasovi razdelijo dela v tem katalogu na prvo četrtino, srednjo polovico in zadnjo četrtino. Niso popolna celotina umetnikovega dela: tanjka obdobja je lahko praznina v arhivu, ne le obdobje manj intenzivnega ustvarjanja. Iste leta, v katerih se odtisa življenje umetnika

Primerjajte z

Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.

Več del, ki bi jih postavili ob to: originaluniqueart.com/sl/art/similar/donatello-crucifixion-8EWEW7-en/

Barve

Izmerjeno na podlagi slike

    Glavna barva

    Quinacridone Magenta #705955

    Shranjena paleta

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

    Te barve v celotni umetnikovi paleti Poiščite druge slike po barvi

    Paleta barv
    Earthy Prevladujoča barvna družina na sliki.
    Naziv primarne barve
    Quinacridone Magenta
    Intenzivnost
    Balanced Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
    Kontrast
    Gentle V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
    Harmonija
    Balanced Harmony Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
    Zasvetlina
    Balanced Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
    Zasičenost
    Subtle Color Kolikograščena in močna so barve, od skoraj sivih do popolnoma živahnih.

    Kje po svetu se gleda ta slika?

    • pod 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% in več
    Ta slika sama po sebi nima dovolj zabeleženih obiskovalcev za izdelavo zemljevida, zato plošča prikazuje vsako del avtorja Donatello v zadnjih dvanajst mesecih — skupaj 15 držav. Od kod ti podatki prihajajo

    Deset vodilnih držav

    1. 1 Kitajska 59,0%
    2. 2 Hong Kong 11,4%
    3. 3 Združene države Amerike 8,6%
    4. 4 Italija 6,7%
    5. 5 Brazilija 3,8%
    6. 6 Nemčija 1,9%
    7. 7 Avstrija 1,0%
    8. 8 Švica 1,0%
    9. 9 Kolumbija 1,0%
    10. 10 Češka 1,0%
    11. · 5 drugih držav 4,6%

    Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri od njih? Zapišite en razlog, zakaj bi jo lahko gledali ljudje z daljave.

    20 najbolj gledanih del umetnika Donatello

    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 ta slika 1,5%

    Skupaj ti deli predstavljajo 55,3% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 143 del te umetnice, pri čemer je bilo 67 vsaj enkrat ogledanih. Ta slika zaseda 23 mesto med njimi, s 1,5% takšne pozornosti. Isto velja tudi za vsak posamezen mesec

    Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in to: navedite eno stvar, ki bi lahko naredila sliko znano, oltre tem, kako je dobro naslikana.

    O tem umetniškem delu

    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.

    Umetnik in muzej

    Umetnik

    Donatello

    Rojen v Fireneca, Italija

    zgodno zgodna mladost in začetki kariere

    Donato di Niccolò di Betto Bardi, v zgodovini umetnosti bolj znan kot Donatello, se je rodil v Firenci v Italiji okoli leta 1386. Njegovo globoko zanimanje za klasično kiparstvo je močno oblikovalo njegov razvoj sloga zgodnje renesanse, saj je s svojo inovativno pristopom k umetnosti in kulturi postavil temelje, ki so postali nedeljenljiv znak florentinske renesanse.

    ključna dela in inovacije

    Donatellovo najslavnejše delo, David, je predstavljalo prvo svobodno stoječo moško golič skulpturo od dob antičnosti. To delo, ki ga je naročila plemenita družina Medici, je s svojo tehnično dovršenostjo in inovativno estetiko razkazalo njegovo izjemno umetniško znanje. Poleg tega so v njegovem bogatem izročilu izpostavljena še druga znamenita dela:

    Sveti Louis iz Toulousea (zdaj v muzeju bazilike Santa Croce), ki vključuje klasičen okvir, ki ga je zasnoval sam Donatello.

    Žrtvovanje Isaka, ustvarjeno za zvonik cerkve Santa Maria del Fiore v Firenci, ki s svojo močno portretno natančnostjo navdušuje gledalca.

    Križ (1425) za Santa Croce, ki prikazuje Krista v trenutku neizmerne bolečine in agonije.

    umetnični slog in dediščina

    Donatellov umetniški razvoj lahko razdelimo na širše faze, ki se začnejo z razvojem izrazljivosti in klasične monumentalnosti. Čeprav njegovo del v skupnosti sprva ni bilo takoj sprejeto, je sčasoma postalo izjemno priljubljeno ter močno vplivalo na druge italijanske dvore in evropske umetnike. ključni umetniški pogreti:

    italijanska renesansa

    zgodnja renesansa

    florentinska renesančna umetnost

    osebno življenje in delovni slog

    Donatello je bil poznan po svoji prijaznosti in ljubimosti med ljudmi, vendar pa je bil v poslovnih vidikih svoje kariere precej manj usposobljen. Pogosto se je zgodilo, da je sprejel več naročil, kot jih je zmožnost obdelati, zaradi česa so bila dela pogosto zaključena zamudno ali pa jih je prepustil drugim kiparjem. značitna umetniška dela in umetniki:

    Leonardo da Vinci: Objemljanje (detajl)

    Amico Aspertini: Statua Pana / Lev, ki grize konja

    Michelangelo Buonarroti: Tondo Pitt

    muzeji in umetniške zbirke:

    Museo della Collegiata (Empoli, Italija): skriti dragulj renesanse, ki v svoji zbirki vsebuje dela Francesco Botticinija in Raffaella Botticinija.

    gibanje zgodnje italijanske renesančne umetnosti

    Muzej

    Museo Nazionale del Bargello

    Na razstavi v Florence, 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.

    Country:

    Italy

    City:

    Florence

    Website:

    https://bargellomusei.it/en/museum/museo-nazionale-del-bargello/

    The Museo Nazionale del Bargello’s Collection Highlights

    The Museo Nazionale del 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, 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. Benvenuto Cellini’s artistry is represented through exquisite models and small bronze sculptures, including the famed model for his colossal statue of Perseus – a testament to the opulence and technical skill of the late Renaissance.

    Palazzo Vecchio: 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.

    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.

    Preberite več

    Preverite na spletu

    QR koda za dostop do strani za prenos Crucifixion

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

    Navodila za citiranje umetniškega dela

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

    Poglejte bližje

    Crucifixion — Donatello

    Poglejte rafinirano

    Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.

    1. Kaj vas najprej pritegne in zakaj?
    2. Katere barve ali oblike ustvarjajo vzdušje — in kakšno je to vzdušje?
    3. Naš katalog to delo uvršča pod: christianity, religion, sculpture. Se strinjate? Bi kaj dodali ali odvzeli?
    4. Poglejte nazaj na Chellini Madonna, recto, ki ste ga prej videli v tem priročniku. Navedite dve stvari, ki jih deli z tem delom, in eno, ki je drugačnja.
    5. Donatello je bil star približno 79, ko je bilo to delo ustvarjeno. Kaj v njem opazite kot delo umetnika v tem obdobju?

    Vaš odgovor

    Zapišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.

    Umetniški kviz

    Crucifixion — Donatello

    Kako dobro poznate to umetniško delo?

    Za vsako od spodnjih 5 vprašanj izberite en odgovor. Vsako vprašanje ima natanko en pravilni odgovor.

    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

    Moj rezultat: ____ od 5

    Ključ odgovorov za učitelje

    To se začne na novi tiskani strani, zato lahko te strani pri kopiranju preprosto izpustite.

    1B · 2A · 3C · 4B · 5C

    Preverite vsak odgovor v primerjavi z zapisom v katalogu za to sliko

    Vprašanja in odgovori

    Kdaj je bilo ustvarjeno delo "Crucifixion" avtorja Donatello?

    "Crucifixion" izvira iz 1465. Ta datum delo situira v okvir Donatelloove kariere in obdobja, v katerem je nastalo.

    V kateri letnici in v katerem umetnostnem slogu je nastalo "Crucifixion"?

    "Crucifixion" je bila ustvarjena leta 1465 kot del pokreta Renaissance Sculpture. Datum in slog umetniškega pokreta postavita umetniško del na mesto v zgodovini umetnosti.

    Kako močne so barve dela "Crucifixion"?

    "Crucifixion" avtorja Donatello je zabeležen z Subtle Color saturacijo in Balanced intenzivnostjo.