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Essay / Research Paper Abstract
(9 pp) We are fortunate to be able to view this
unique work of Donatello,(1386-1466), The Madonna
of the Clouds (1425-35) at the Boston Museum of
Fine Arts. This small bas relief was a gift of
Quincy Adams Shaw through Quincy A. Shaw Jr., and
Mrs. Marian Shaw Haughton, in 1917
(catalog #17.1470) and has even been referred to
as the "Shaw" Madonna. In this discussion we will
consider the relationship of this marble to its
original presentation and purpose; we will review
the scholarship surrounding the piece; as well as
review some personal opinions of the author
concerning the piece. Bibliography lists 4
sources (includes 2 visuals)
Page Count:
9 pages (~225 words per page)
File: D0_BBdntloR.doc
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Unformatted sample text from the term paper:
and has even been referred to as the "Shaw" Madonna. In this discussion we will consider the relationship of this marble to its original presentation and purpose; we will review
the scholarship surrounding the piece; as well as review some personal opinions of the author concerning the piece. Bibliography lists 4 sources (includes 2 visuals) BBdnatlo.doc DONATELLO:
Madonna of the Clouds Written by B. Bryan Babcock for the Paperstore, Inc., November 2000 Introduction We are fortunate to be able to view this
unique work of Donatello,(1386-1466), The Madonna of the Clouds (1425-35) at the Boston Museum of Fine Arts. This small bas relief was a gift of Quincy Adams Shaw through
Quincy A. Shaw Jr., and Mrs. Maria Shaw Haughton, in 1917 (catalog #17.1470) and has even been referred to as the "Shaw" Madonna. In this discussion we will consider the
relationship of this marble to its original presentation and purpose; we will review the scholarship surrounding the piece; as well as review some personal opinions of the author concerning the
piece. Origins According to the Detroit Institute of Art (1985), this intimate work by Donatello is the "only marble sculpture in the western hemisphere confidently ascribed to Donatellos
personal invention." According to Jansen (1957), this and the earlier Pazzi Madonna (Berlin), plus a bronze (Chellini Madonna) appear to be mentioned in earlier sources, thus giving historic precedent
to them, and to this particular piece, as the work of Donatello. Some of this occurs by a "signature style," and some is through some record, or
historical reference to the piece itself. Purpose This intimate relief was probably made as a private devotional piece for a family chapel. Its size would encourage the viewer to
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