# data[].attributes.body
By 1455, Donatello returned to Florence and completed Magdalance Penitent, a statue of a gaunt-looking Mary Magdalence. This work was probably intended to provide comfort and inspiration to the repentant prostitutes at the convent at Santa Maria di Cestello. Donatello continued his work taking commissions from wealthy patrons of the arts. Thankfully, his lifelong friendship with the Medici family earned him a retirement allowance to live on the rest of his life. He died on December 13,1466, in Florence and was buried in the Basilica of San Lorenzo, next to Cosimo de Medici.

# data[].attributes.body
In 1430, the eminent art patron commissioned Donatello to do another statue of David, this time in bronze. The sculpture is fully independent from any architectural surroundings that might support it. Standing a little over five feet tall, the statue of David represents an allegory of civic virtue triumphing over brutality and irrationality. This is probably Donatello's most famous work. In 1450, Donatello completed a bronze statue called Gattamelata, showing Erasmo riding a horse in full battle dress, minus a helmet. This work became the prototype for other equestrian monuments created in Italy and Europe.

# data[].attributes.body
By 1408,Donatello reputation was growing. He was being recognize for creating imposing, larger than life figures innovative techniques and extraordinary skills. Donatello's style incorporated the new science of perspective, which allowed the sculptor to create figures that occupied measurable space. He also drew heavily from reality for inspiration in his sculptors, accurately showing suffering, joy, and sorrow in his figures face and body positions. Around 1425, Donatello entered into a partnership with Italian sculptor and architect Michelozzo. Donatello and Michelozzo traveled to Rome, where they produced several architectural sculptural tombs, including the tomb of Anti-pope John XXIII and the tomb of Cardinal Brancacci. These influences many later Florentine tombs.

# data[].attributes.body
By 1403, Donatello was back in Florence at the workshop of the cathedral. In that year, he completed the life-sized marble sculpture, David. The sculpture follows a Gothic style,popular at the time, with long graceful lines and an expressionless face. The sculpture was intended for placement in the cathedral, but instead it was set up in the Palazzo Vecchio(the town hall) as an inspiring symbol of defiance of authority to Florentines, who were engaged in a struggle with the king of Naple at the time. Rapidly maturing in his art, Donatello soon began to develop a style all his own, with figures much more dramatic and emotional. Between 1411 and 1413, he sculpted the marble figure st.Mark and in 1415, Donatello completed the marble statue of a seated st.John the Evangelist for the cathedral in Florence. Both of these works show a decisive move away from the Gothic style and toward a more classical techinque.

# data[].attributes.body
Donatello was born 1386, in Florence, Italy. His full name is Donato di Niccolio di Betto Bardi, but his friens and family gave him the nickname "Donatello." He was the son of Niccolo di Betto Bardi. Donatello was educated at the home of Martellis, a wealthy and influential Florentine family of bankers and art patrons. He apparently received his early artistic training in goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti. Donatello learned sculpting from Lorenzo. He learned metallurgy and fabrication of metals and other substances. Donatello traveled to Rome to study classical art. These experiences gave Donatello a deep understanding of ornamentation and classic forms.