Italian Renaissance sculpture in the context of "Filippo Brunelleschi"

Antonio del Pollaiuolo (UK: /ˌpɒlaɪˈwoʊloʊ/ POL-eye-WOH-loh, US: /ˌpoʊl-/ POHL-, Italian: [anˈtɔːnjo del pollaˈjwɔːlo]; 17 January 1429/1433 – 4 February 1498), also known as Antonio di Jacopo Pollaiuolo or Antonio Pollaiuolo (also spelled Pollaiolo), was an Italian Renaissance painter, sculptor, engraver, and goldsmith, who made important works in all these media, as well as designing works in others, for example vestments, metal embroidery being a medium he worked in at the start of his career.

His most characteristic works in his main media show largely naked male figures in complicated poses of violent action, drawing from classical examples and often centred on a heroic Hercules. He, or possibly his brother, was also an innovative painter of wide landscape backgrounds, perhaps having learnt from Early Netherlandish painting. His two papal tombs were the only monuments to survive the demolition of Old St Peter's in the next century and be reconstructed in the present St Peter's Basilica.

The Pietà (Madonna della Pietà, Italian: [maˈdɔnna della pjeˈta]; '[Our Lady of] Pity'; 1498–1499) is a Carrara marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Virgin Mary by Michelangelo Buonarroti, in Saint Peter's Basilica, Vatican City, for which it was made. It is a key work of Italian Renaissance sculpture and often taken as the start of the High Renaissance.

The sculpture captures the moment when Jesus, taken down from the cross, is given to his mother Mary. Mary looks younger than Jesus; art historians believe Michelangelo was inspired by a passage in Dante Alighieri's Divine Comedy: "O virgin mother, daughter of your Son [...] your merit so ennobled human nature that its divine Creator did not hesitate to become its creature" (Paradiso, Canto XXXIII). Michelangelo's aesthetic interpretation of the Pietà is unprecedented in Italian sculpture because it balances early forms of naturalism with the Renaissance ideals of classical beauty.

David is a masterpiece of Italian Renaissance sculpture in marble created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the High Renaissance, and since classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell'Accademia, Florence. In 1910 a replica was installed at the original site on the public square.

The biblical figure David was a favoured subject in the art of Florence. Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family.

The equestrian statue of Bartolomeo Colleoni is a Renaissance sculpture in Campo Santi Giovanni e Paolo, Venice, Italy, created by Andrea del Verrocchio in 1480–1488. Portraying the condottiero Bartolomeo Colleoni (who served for a long time under the Republic of Venice), it has a height of 395 cm excluding the pedestal. It is the second major equestrian statue of the Italian Renaissance, after Donatello's equestrian statue of Gattamelata (1453).

Donato di Niccolò di Betto Bardi (c. 1386 – 13 December 1466), known mononymously as Donatello (English: /ˌdɒnəˈtɛloʊ/; Italian: [donaˈtɛllo]), was an Italian sculptor of the Renaissance period. Born in Florence, he studied classical sculpture and used his knowledge to develop an Early Renaissance style of sculpture. He spent time in other cities, where he worked on commissions and taught others; his periods in Rome, Padua, and Siena introduced to other parts of Italy the techniques he had developed in the course of a long and productive career. His David was the first freestanding nude male sculpture since antiquity; like much of his work, it was commissioned by the Medici family.

He worked with stone, bronze, wood, clay, stucco, and wax, and used glass in inventive ways. He had several assistants, with four perhaps being a typical number. Although his best-known works are mostly statues executed in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was architectural reliefs for pulpits, altars and tombs, as well as Madonna and Childs for homes.

An equestrian statue is a statue of a rider mounted on a horse, from the Latin eques, meaning 'knight', deriving from equus, meaning 'horse'. A statue of a riderless horse is strictly an equine statue. A full-sized equestrian statue is a difficult and expensive object for any culture to produce, and figures have typically been portraits of rulers or, in the Renaissance and more recently, military commanders.

Although there are outliers, the form is essentially a tradition in Western art, used for imperial propaganda by the Roman emperors, with a significant revival in Italian Renaissance sculpture, which continued across Europe in the Baroque, as mastering the large-scale casting of bronze became more widespread, and later periods.

The Bargello, also known as the Palazzo del Bargello or Palazzo del Popolo ("Palace of the People"), is a former public building and police headquarters, later a prison, in Florence, Italy. Mostly built in the 13th century, since 1865 it has housed the Museo Nazionale del Bargello, a national art museum.

It is the primary national collection for Italian Renaissance sculpture, of which its collection of Florentine works is unequalled, and for the decorative arts of Florence, especially from the Renaissance period. There are also works from earlier and later periods.

The Equestrian Statue of Gattamelata is an Italian Renaissance sculpture by Donatello, dating from 1453, located on the Piazza del Santo in Padua, Italy. It portrays the condottiere Erasmo da Narni, known as Gattamelata ("honey-cat"), who served mostly under the Republic of Venice, which ruled Padua at the time. It is the first full-size equestrian statue of the Italian Renaissance.

Hercules and Cacus is an Italian Renaissance sculpture in marble to the right of the entrance of the Palazzo Vecchio in the Piazza della Signoria, Florence, Italy.

It has a complicated and highly political history, but the finished work is by the Florentine sculptor Baccio Bandinelli mostly from 1525 to completion in 1534. It was commissioned as a pendant to Michelangelo's David, which had been commissioned by the republican council of Florence, under Piero Soderini (gonfaloniere for life), to commemorate the victory over the Medici.