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Donatello: catalogue of works
The following catalog of works by the Florentine sculptor Donatello (* around 1386 in Florence; † on 13 December 1466 in Florence) is based on the monographs by Horst W. Janson (1957), Ronald W. Lightbown (1980), John Pope-Hennessy (1996) as well as the catalogs of the 2022/2023 exhibitions in Florence, Berlin and London. In the case of unsigned or documented works, the attributions and dates are, as is usual, based predominantly on stylistic criteria and analogies to secured works. Many of the works attributed to Donatello were created in collaboration with other artists and with specialists in specific techniques.



About the table
The table is designed to be sorted in the best logical way possible, so that it can be used productively for searches, statistics and analysis (with many compromises, see below. The sorting function will also be available in the app sometime). Technical terms, places, etc. are only linked once at first appearance.

Subject/Name
First of all, it must be said that almost none of Donatello's works at the time had an individual name or title (just as only a few were signed; sometimes they have got inscriptions that were created later, as with the Campanile figures). In addition to the prophet Habakkuk, who was quickly nicknamed Zuccone because of his pumpkin-shaped head, the late Judith and the ancient Dovizia on the main market square (today's Piazza della Repubblica) in Florence, which was also unique at the time, to clearly identify a work, the addition of the place (or commissioner) and (if you knew it) the artist's name was needed. The figure of David was just as unusual and for both statues it was generally known that Donatello had made them, but for the second one, the bronze David for the Medici, which became known just as soon, you had to differentiate by adding the place where it was installed, the client or the material. Almost all of the other sculptures were figures of Christ, the Madonna and Saints, which were everywhere and made up the entire iconographical canon of what could be depicted up to that point.

Bronze David, Pazzi Madonna and Cavalcanti Annunciation are all so-called Notnamen, short names that have been created over time by art historians since the 19th century, which have become established (with variants) and, particularly in the case of popular works, have become established in general through art literature, cultural and travel guides. A very special case in this regard is the so-called Amor-Attis, Amor-At(t)ys and vice versa, or also Atys-Amorino, as Horst W. Janson described it in his monograph, which is still fundamental to this day, he remains a mystery with its ambiguous ancient attributes. Another persistent enigma is of course the bronze David.

Perhaps contrary to expectations, in the table these Notnamen under “Subject/Name” follow (in italics) after a general descriptive name of the object (e.g. “Lion..., (Marzocco)”), so that all prophet figures, for example, or the five John the Baptist can be brought together. Likewise, all Madonnas and Virgins with the Christ child are referred to as “Madonna and Child” so that they can be compared; the Pazzi Madonna, for example, can be found as “Madonna and Child, (Pazzi Madonna)”.

Donatello's documented collaborators and assistants are then named in small boldface, followed by uncertain attributions, dates or functions in small, bold and italic , which is a reference to missing documentation. Separating the largely undisputed works attributed to Donatello from those secured by documents or omitting them entirely would not allow an overall view of his oeuvre, to approximate the assumed simultaneous work on different genres and their chronological progression.

Form
Under “Form” the statues in particular can be separated from the relief works, although at the same time e.g. all niche figures can also come together.

Materials
Donatello worked with a wide variety of materials, most often in innovative ways. In his time and also due to Donatello, in addition to marble, the complex and expensive bronze and cheap, easy-to-handle fired clay (terracotta) became the essential materials; almost exclusively white marble, especially for the early statues of the Florentine Cathedral, the stiacciato reliefs, the tombs and the two pulpits from the 1930s. Bronze, whose technique was almost lost and whose renaissance is associated above all with Lorenzo Ghiberti, his doors for the Baptistery of San Giovanni and the statues for Orsanmichele. , for which Donatello then made his first bronze figure, the Saint Louis of Toulouse (1418–1422).

The main material used for the main object of a work is always mentioned first, then its treatment and secondary materials (as in the “St. Louis of Toulouse with niche”, first “bronze, fire-gilt”, then silver, enamel and rock crystal for the decoration of the bishop's crosier, and finally the marble for the niche in which the figure originally stood, that was also created by Donatello).

Dimensions
In the 15th century, a locally applicable ell (or arm length) was applicable, which could range between around 50 and 75 cm. The size of a sculpture may have been specified as such in contracts or described in sources. In Donatello's case, the Florentine braccio (Italian "arm") of 58.3 cm was used for the most part.

If height × width × depth is not specified in the table as measurements (in centimeters), at least the height of a figure or the diameter (d) of a tondo, if that was the only way it could be found in the literature.

Dating
When it comes to dating the work, a compromise had to be made in that the initial dates are decisive here. This means that for documented objects it is often the date of the (first) written commission or the decision to do so. However, as is often the case (at this time) and not only for Donatello, the completion of a work or even the beginning lay sometimes years in the future. The specified time period does not therefore mean the actual time that Donatello spent on a work. Especially since, even at the other end, that is, after Donatello had completed a sculpture, a considerable amount of time could pass before it was (as is often the case) primed and colored and also gilded by painters. The installation on site did not have to happen immediately, so such information in documents does not necessarily mean the time at which the sculpture was finished.

The priority of the starting date ignores the fact that during the period of often non-continuous work on a work, the understanding, the general knowledge of the classical model, with which Donatello continuously dealt, as well as the access to a specific task could change. This means that during the work process a stylistic change could take place that was not foreseeable at the beginning, or technical difficulties (or other circumstances) could arise that had to be solved and perhaps lead to a different result than it was originally planned.

Examples here include the early works, especially the marble David, whose speculative reworkings were the subject of much riddling. Is the composition of the Louis of Toulouse in several parts, rather than cast in one piece, as Ghiberti had done, due to Donatello's deficits in the knowledge of bronze casting or was this based on a practical consideration regarding fire gilding or perhaps the complexity of the folds? The question of its open back (original or removed for Santa Croce?) will continue to concern art historians.

Locations
The locations always start with the city, then the building in or on which the work was or is located. Under original location there is also information that names the client or clients or allows conclusions to be drawn about them. An (early) relocation of a work is also noted (e.g. with both David figures). Today's location indicates in part the inventory number of the object (“Inv. xy”) if it is part of a museum collection, if possible with a link to the institution's online catalog where –as with the Berlin collection– good images can be found, a detailed description and documentation, as well as a bibliography.

About the second table
Important here are the controversial works, which have always been close to the discussion about Donatello's work, but which are refused to be included in the catalog of works that can be considered secure. Particularly worth mentioning here are the portrait bust of Niccolò Uzzano, the Saint Peter at Orsanmichele and the Hildburgh Madonna and its derivatives.

Furthermore, the nature of the second table means that it cannot be complete. As far as casts and variants of mostly smaller to minute works are concerned, there may be a huge number scattered throughout museums and private collections that have received undocumented attributions based solely on stylistic similarities. This also applies to works based on Donatello's designs since the supposed designs no longer exist. The heraldic shields in particular, often with Donatello's trademark, the spiritelli, are probably all workshop products at best. Due to the lack of sources, there is no section for original location here, but one for the attribution appears as second column.

All of the works listed here may be considered examples, with an obvious emphasis on works from the Berlin Sculpture Collection in the Bode Museum, which has historical and practical reasons. On the one hand, the early Italian Renaissance and Donatello in particular have been the focus of collecting activities and research since the end of the 19th century, especially of Wilhelm von Bode, which was then basically continued to this day. This is reflected in today's online catalogue, most of the works are excellently documented. This is also a reason for selecting the pieces from other museums, the Victoria and Albert in London, which was similarly engaged as Berlin, the American collections of the National Gallery in Washington, the Detroit Institute of Arts and of course the museums in Florence itself, Donatello's birthplace and center of his professional life.

Original audio work
Peak positions of national charts are mentioned in the "Notes"

Singles

 * "O Superman" (1981) No. 2 UK; BE (Vl) No. 19; IRL No. 11; NL No. 10; NZ No. 21
 * "Big Science" (1981)
 * "Sharkey's Day" (1984)
 * "Language Is a Virus" (1986)
 * "Strange Angels" (1989)
 * "Babydoll" (1989) No. 7 US Modern Rock
 * "Beautiful Red Dress" (1990)
 * "In Our Sleep" (1994)
 * "Big Science 2" (2007) (Currently available only on iTunes)
 * "Mambo and Bling" (2008)
 * "Only an Expert" (2010)

As guest artist

 * song: "This Is the Picture (Excellent Birds)" with Peter Gabriel (1986, So ~ Geffen / Charisma )
 * Zoolook by Jean Michel Jarre (1984 ~ Disques Dreyfus )
 * song: "Speak My Language" (1993; Faraway, So Close! Soundtrack ~ SBK Records / ERG)
 * A Chance Operation: The John Cage Tribute with text by John Cage (1993 ~ Koch International Classics )
 * song: "Enquanto Isso" with Marisa Monte (1994, Verde, anil, amarelo, cor de rosa e carvão ~ EMI-Odeon ; Rose and Charcoal ~ Blue Note )
 * song: "Una hoja, una raiz" (One Leaf, One Root) with Diego Frenkel (La Portuária) and Aterciopelados (1996, Silencio=Muerte: Red Hot + Latin ~ H.O.L.A Records )
 * song: "Je me souviens" by Jean Michel Jarre (2000, Métamorphoses ~ Sony Music )
 * song: "Gentle Breeze" with Lou Reed (2004, Mary Had a Little Amp – a preschool education benefit CD ~ Epic )
 * song: "The Fifth Plague" (The Death of Livestock) (2006, Plague Songs ~ 4AD )
 * The Stone: Issue Three with John Zorn and Lou Reed (2008 ~ Tzadik )
 * song: "The Electrician" (2009, Music Inspired by the Film Scott Walker: 30 Century Man ~ Lakeshore )
 * Femina by John Zorn (2009 ~ Tzadik )
 * New History Warfare Vol. 2: Judges by Colin Stetson (2011 ~ Constellation )
 * song: "Rely on Me" with Jean Michel Jarre (2015, Electronica 1: The Time Machine ~ Columbia )

DIG
Dig is an album by Miles Davis released in 1956 on Prestige Records, catalogue number 7012. It features tracks from a single 1951 recording session at Apex Studios in New York, remastered for the new 12" LP format release by Rudy Van Gelder.

It was Davis' second session date for Prestige, and the first one that allowed for each track to be longer than the up to this time usual three minutes length that fitted on the 10" shellack LPs

Initially released in the twelve-inch format in 1956, Dig was later reissued as a compact disc with additional tracks. The original album was re-released in 1963 as Diggin' with the catalogue number PR 7281 and a different cover. That later version is the one currently widely available on vinyl although the expanded version of Dig is the one available on CD.

The material was originally released on two 10 inch LPs, except for "Denial," released on a 1954 7" (Prestige PREP 1361). "Dig" and "It's Only a Paper Moon" first appeared on The New Sounds (PRLP 124), as did "Conception"  and "My Old Flame". "Bluing" and "Out of the Blue" were originally released on Blue Period (PRLP 140). When the material was reconfigured for the new 12inch format, "Conception"  and "My Old Flame" were included on the Prestige various artists collection Conception (PRLP 7013).

After inaugurating the school of cool jazz with the Birth of the Cool recording sessions in 1949 and 1950, Davis almost immediately turned away from that soand in the early 1950s, to which this recording attests.

Dig was also the jazz recording debut of saxophonist Jackie McLean. -> "Dig"="Donna" (md vol.1), written by McLean, langsamer and nur 3 min

1991 Remastering – Joe Tarantino in Berkeley 2010 24-bit Remastering – Joe Tarantino in Berkeley

Track listing
All tracks written by Miles Davis except "Paper Moon" by Harold Arlen, Yip Harburg, and Billy Rose, "My Old Flame" by Sam Coslow and Arthur Johnston, "Conception" by George Shearing and "Dig" by Jackie Mclean.

12" LP

 * Side one
 * 1) "Dig" (7:33)
 * 2) "It's Only a Paper Moon" (5:23)
 * 3) "Denial" (5:39)


 * Side two
 * 1) "Bluing" (9:55)
 * 2) "Out of the Blue" (6:15)

CD reissue

 * 1) "Dig" (7:33)
 * 2) "It's Only a Paper Moon" (5:23)
 * 3) "Denial" (5:39)
 * 4) "Bluing" (9:55)
 * 5) "Out of the Blue" (6:15)
 * 6) "Conception" (4:01)
 * 7) "My Old Flame" (6:34)

Personnel

 * Miles Davis – trumpet
 * Jackie McLean – alto saxophone (on "Dig" and all Davis originals)
 * Sonny Rollins – tenor saxophone
 * Walter Bishop, Jr. – piano
 * Tommy Potter – double bass
 * Art Blakey – drums

Collaborative albums
MenkinAlRire 13:52, 9 August 2016 (UTC)