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The most renowned statues from the era include the Donatello and Nanni sculptures (Burgio, Clark, & Hark, 2010). Both masterpieces are held at the Museo dell’Opera de Muomo exhibition. The study seeks to implement the visual description of the sculptures as seen in the exhibition with a contextual inclusion of sculptural production in the Florentine Age of the 15th century.
The renowned sculpture of Donatello remains an uncontested artifact of the period because of its unique inclusion of proportion in a rather hard to shape material. The 1418 sculpture depicts a biblical version of the events surrounding Isaac’s sacrifice. The sculptor engaged in the use of marble, and it is apparent that his knowledge in the field compelled his conclusion that he would deliver an exemplary artwork in the end. Arguably, the sculptor developed a theological concept prior to the beginning of the work; hence, the evidence shown in the sculptures facial expressions depicts the application of “scientific naturalism” (Long, 2013). The prevailing evidence from the visual surveillance inclines knowledge to a contemporary viewer that the use of grey almost brown colors emerges from the philosophical freedom held by the sculptor during the Florentine culture.
While at the exhibition, a viewer could define the emotional expressions shown in the sculpture of Donatello on Isaac’s sacrifice. Such credentials declare the fury that Abraham felt once ordered by God to honor him through sacrificing his only child. In the contemporary culture, a viewer would agree with the sculptor’s perspective in developing the 191-centimeters’ tall sculpture. The taller figure of the sculpture seems to dominate the smaller one who is in a kneeling position (Burgio, Clark, & Hark, 2010). The rust-brown sculpture depicts a Biblical expression that the sacrifice was to accord God’s will as the taller figure looks upwards while holding a knife on the smaller
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