The exhibition organises its wonderful collection of Renaissance treasures to show how Donatello innovated in a number of areas:
· the Portrait Bust - portraying for the first time since antiquity the faces of people other than rulers, reflecting an idealogical shift in the Renaissance period recognising the importance of the individual in Society.
· Relievo Schiacciato – a form of incredibly low relief or “squashed” relief sculpture (which only he and a handful of others genuinely mastered), where depth and perspective is created by carving in only millimeter depths of difference.
· The virgin and child “tondo” or roundel - adapted from antiquity and made specifically for ease of reproduction, we again see an unapologetic nod to commercialism, in this case an innovation needed to meet the demand for this type of work.
· Monumental, free-standing sculptures – whilst working in Padua, he created Gattemalata, the first free standing monumental equine sculpture since antiquity. Donatello’s bronze David was the first freestanding nude sculpture since antiquity and the first unsupported standing work in bronze to be cast during the Renaissance.
· Religious imagery – Donatello was famed for producing sensitive, empathetic portrayals of classic religious imagery that brought an emotional response from the onlooker. An innovation copied by sculptors and painters alike, their aim to bring the faithful closer to God.
As usual with these showcase exhibitions, the way in which the V&A has grouped the works, brought out connections and told stories is, in itself, innovation writ large; something at which our museums in the UK often excel. A privilege to see so many historic and inspirational pieces in one venue (is the Bargello empty!?) and one I would thoroughly recommend to others.
On at the Victoria and Albert Museum, South Kensington until 11th June.