Art Media Analysis Essay

     Michelangelo was another artisan who portrayed David in a unique matter. He didn’t represent David standing over a defeated Goliath, but instead made him look like he was patiently awaiting his enemy. The body has a very classical form and is muscular and very tense. The form makes David look powerful. Michelangelo made David very strong with well defined features, iand even included enlarged hands to show the viewer of the strength that David had before attacking Goliath. Unlike other versions at the time, Michelangelo didn’t create a version of a prideful David, but instead a David who was amongst or aware of his enemy.

The city of Florence has gone through many invaders, illnesses and many other deaths not related to the battlefield. They had survived it all they believed that they had God on their side and have always come out on top, much like the biblical story of David in battle against Goliath. This influenced Florence to take on David as their symbol and used it to portray the success of Florence. Many artists have created sculptures portraying works of David. It has been depicting it in so many different manners, that there is at least one surviving example from each major art periods. Although there are many we will only be focusing on two works of David. First is Donatello’s classically inspired youthful boy depiction of David, and the second is Bernini’s heroic warrior.

Michelangelo created a 17 foot statue, David (1504) that Bernini studied to make his own depiction of the scene. The most noticeable difference between the two is that Michelangelo’s sculpture is nude while Bernini’s is clothed to an extent. Bernini utilizes the contapposto technique in his story of David, a technique taken straight from Michelangelo. Bernini plays with the immediacy of the scene, something that he does frequently, by depicting the moment right before the climax hits, when David kills Goliath. The movement in the sculpture, the moment before the release of the rock from the sling engages with Michelangelo’s sculpture of David. Michelangelo decided to show David before he

Bernini's David represents the Baroque time shift in art. The shift towards the baroque art period seemed to have a change within the overall narrative of the sculptures. Prior to Bernini’s version of David there existed David’s sculpted by Donatello and Michelangelo. Donatello’s David was sculpted during the time of humanism, where a large influence came from the ancient Greco-Roman culture. The overall emotion of the sculpture is soft and youthful and creates the image of David after he had beaten Goliath. There really is no distinct emotion within David himself in this sculpture. In the high renaissance period Michelangelo sculpted his version of David. This sculpture began to form some energy which was seen in David’s tensed facial expression,

Compare Donatello’s Bronze David with Michelangelo’s David. How did they reflect and/or inform ideas about youthful masculinity in the Renaissance?

The marble sculpture conveys an image of a man’s body which is almost like superman. In this way, his David suggests the ideal appearance of what a man should look like. After centuries of Church dominating in people’s lives, the Renaissance marked a return to the people’s values of their world. Interestingly, statue of David which was modeled by Michelangelo is the most famous statue in the whole world and perhaps an important tourist attraction site in Italy. Michelangelo was born on 6th march, 1475 in Caprese village in Italy. He also worked on the David's statue between 1501 and 1504 which stands at the height of 4.34m/14 ft 3. The statue is placed outside Palazzo Vecchio. It is currently viewed as a symbol of new republic which replaced Medici

Michelangelo was born on March 6, 1475, at Caprese, in Tuscany and died February 18th, 1564. The second sculpture is of Michelangelo?s David, 1501-1504. Its material is marble, it stands 13' 5" and is currently located at the Galleria dell'Accademia, Florence. Michelangelo's David is based on the artistic discipline of disegno. It is said that under this discipline, sculpture is considered to be the finest form of art because of how it mimics divine creation. Michelangelo worked under the premise that the image of David was already in the block of marble he was working on, in much the same way that the human soul is thought to be found within the physical body (Michelangelo's David). Unlike the David of Donatello, Michelangelo's David is not shown after conquering his enemy. Instead, he is portrayed as an extremely athletic and manly character; the sculpture even depicts a worried look cast upon David?s face and the carved marble veins seem to pulse with anticipation as he contemplates the upcoming fight. Cast over David?s shoulder is his sling, and the stone is

As the name indicates, in this piece David is preparing to face Goliath, and as stated by Roger Kamien in his book Music: An Appreciation that was published in 2011 by McGraw Hill, the statue “fills space with action and movement. It is far more dynamic than Michelangelo’s David.” Also, in contrast to its counterpart, David Slaying Goliath exhibits several elaborate belongings that assist in telling David’s story. Among these effects are his slingshot, a harp and his armor, which has been shed and sitting on the ground beside him. The key difference, though, is in the interpretation of the works. Unlike Michelangelo’s rendition, Bernini’s work is centered on the deed being done. There is less attention paid to the emotion of the character, and instead the intention of the piece is to embody the boy’s achievement and the legacy it left

The greatest similarity within both sculptures is the delicacy of detail given to the physique of both figures. The bulging muscles, furrowed brow and ‘broken in’ nature of ‘Boxer at Rest’s’ body displays the rigor, discipline and strength of the human body. ‘David’s’ lean and poised form display the minute detailing of the male form and the delicate balance between the testosterone-based confidence and strength of mankind with the emotional and intellectual nature that embodies both masculinity and femininity (Allen, 2014). Both in the Hellenistic and Italian Renaissance periods, the human form expressed a worthy study for artists and sculptors, because of the difficulty in accurately rendering it with verisimilitude. As such, the Greeks held that the best sculptures were those that demonstrated the godliness and strength of man, while the 15th century Italians held that the best sculptures were those that depicted man as he was; both physically and intellectually. Regardless, in both cultures, the human form was given great importance. The Hellenistic Greeks viewed man as the measure of all things (Castelle, Coquinot & Bourgarit, 2016). The Italians of the 15th century, who also held the human form in great esteem, saw man as an aspect of nature and creature capable of rationality, science and great achievements. Where the Greeks saw a demigod, the Renaissance Italians saw an accomplished

I chose to compare and contrast Michelangelo’s David with Bernini’s David. Immediately after viewing each work, I noted how different the focus was between the two. In Michelangelo’s piece there was a simpler focus with just David, his platform, and the rock in his right hand and the sling in his left hand. Whereas in Bernini’s David, there is more happening. In his sculpture David is covered over the pelvic region, he has a small bag around his shoulder, a more detailed sling, and a platform with his armor and other objects on it. Michelangelo’s sculpture is not to scale with a human, but much larger around 17 feet. Bernini’s sculpture is to scale with a human, about 70 inches tall. I think Michelangelo’s piece is more relaxed and David’s

How could a statue of a young boy with unconvincing looks as a hero be a notorious work of art? With one glance at the statue, would you believe that this young man could have slain a giant? The story of David and Goliath was very prevalent at the time, and during this period in history, it was commissioned by Cosimo de’ Medici to represent the city of Florence. Florence wanted to show this representation of David through his strength, courage, and youthful confidence in its city. So, dating back to the 1440s, David was a prominent aspect of Renaissance art. The radical change during the Renaissance led artists to alter the original composition of David. Some could agree that this change may have given spectators a different outlook on the meaning and subliminal messages that this statue possess. Different artists, such as Donatello, Michelangelo, and others, all portrayed David in different perspectives. The many different compositions of David would lead one to think, what is the importance behind this sculpture?

The statue of David, completed by Michelangelo in 1504, is an easily recognizable symbol to people not only in Florence, but from all around the world. The David has a special meaning for Florentines, and is a symbol of what the city strives to be; strong, courageous, and youthful. The sculpture tells the tale of the battle between David and Goliath. David, a young boy at the time, was angered at the way Goliath was treating the Israelis and stood up to the giant feat of taking on Goliath. With a simple slingshot and stone, he defeated the angry giant, and became a symbol of liberty. The story shows that anything can be done with the help of God. David is not only the most well-known sculpture in the world, but is housed in one of the

Michelangelo’s David was stylistically significant not only due to its enormous size, but that it depicts David before his battle. The pose is noteworthy because it shows David’s wrinkled brow, muscular torso and strong legs as a preface to his actions. Michelangelo understood the way the body and muscles work together to accurately capture David before the battle in a way that you almost can sense his movement. Michelangelo’s David is more humanistic and shows great detail of muscles and veins, particularly in the neck and arms.

One of the very first example of David used as a sculpture is seen in Florence Italian Renaissance. The sculptor, Donatello, was the very first artist who created David as a statuary, freestanding nude male figure. Donatello's work of David took about twenty years to complete, from 1440-1460. In his work, Donatello casted David in bronze, and it is displayed in the courtyard of the Medici Palace in Florence. In the middle ages, nude statues represent "both indecent and idolatrous, in general, appeared only rarely in art -- and then only in biblical or moralizing context; for example, the story of Adam and Eve" (Kleiner 456). Donatello portrays David not as a Greco-Roman God, hero, or athlete. Instead, he portrays David as a youthful biblical slayer of Goliath, which is the symbol of Florence Republic. David represents the Medici identifying themselves with Florence or at least, they are responsible for Florence's prosperity and freedom. "Donatello's David possesses both the relaxed classical contrapposto stance and the proportion and sensuous beauty of the gods of Praxiteles, a famous Greek sculptor" (Kleiner 456).

Unlike the David of Donatello, Michelangelo's David is not shown after conquering his enemy. Instead, he is portrayed as an extremely athletic and manly character; the sculpture even depicts a worried look cast upon David's face and the carved marble veins seem to pulse with anticipation as he contemplates the upcoming fight. Cast over David's shoulder is his sling, and the stone is clutched in his right hand. Michelangelo's David depicts the ideal youth who has just reached manhood and is capable of great physical and intellectual feats, which is part of the classical tradition. Michelangelo's David portrays one man in a very powerful and intelligent light, and even hinting that this one man may be some