Compare And Contrast The Four Statues Of David
Image pair 1:
Four statues of Pharaoh Ramesses II (with smaller royal family figures), 20m high, Exterior: Abu Simbel temple, Egypt, 1279-1213 BCE
Gian Lorenzo Bernini, David, marble, 1.7m high, Galleria Borghese, Rome 1623-4,
At the exterior to the Abu Simbel Temple, in the small village of Nubia in Southern Egypt, there lies the ‘Four statues of Pharaoh Ramesses II’. These 20 metre tall, statues were carved into the bare stone at around 1279- 1213 BCE, and were an exaggeration of Ramesses II’s prosperity through his possessions. In contrast to this, is Gian Lorenzo Bernini’s statue of ‘David’ which is a life-size marble sculpture used to decorate the villa of Bernini's patron Cardinal ‘Scipione Borghese’ (the patron of the arts).
Both statues …show more content…
Unlike Michelangelo's ‘David’, where the contours of the body are uninterrupted, Bernini’s ‘David’ shows the contour of the body as crossed over and over again, as if there is a heightened spiralling of the body and forceful twisting simultaneously at different points. Much like the rope in David’s sling shot, you feel that there is a similar tension in his body ~ a spring as he is ready to release. Also, where Ramesses' face is finely carved, David’s face is depicted with a sense of intense concentration. Bernini sculpts David as if he is looking directly at Goliath, where he is biting his lips, pulling his eye brows together, and looking upwards in ready for the following events to …show more content…
The Vitruvian ideas, presented by da Vinci, formed the basis of Renaissance proportion and formed Leonardo’s practice, unifying the arts, architecture, human anatomy and symmetry. Similarly, Goya expresses an interest to represent the flawed aspects of humanity, which feature mutilated human corpses through his ‘Great deeds - against the dead’, particularly as a provocative method against the attitudes of war and characters of military prowess. Goya’s ‘Disasters of War’ series wasn’t partisan, it was a grim observation of man’s potential inhumanity to man, where the first 47 etchings of the series focus on the incidents from war and show the consequences of the conflict on individual soldiers and civilians, of the true barbarities, depicting the anatomy of torture, and the aesthetic and moral nature of
Four statues of Pharaoh Ramesses II (with smaller royal family figures), 20m high, Exterior: Abu Simbel temple, Egypt, 1279-1213 BCE
Gian Lorenzo Bernini, David, marble, 1.7m high, Galleria Borghese, Rome 1623-4,
At the exterior to the Abu Simbel Temple, in the small village of Nubia in Southern Egypt, there lies the ‘Four statues of Pharaoh Ramesses II’. These 20 metre tall, statues were carved into the bare stone at around 1279- 1213 BCE, and were an exaggeration of Ramesses II’s prosperity through his possessions. In contrast to this, is Gian Lorenzo Bernini’s statue of ‘David’ which is a life-size marble sculpture used to decorate the villa of Bernini's patron Cardinal ‘Scipione Borghese’ (the patron of the arts).
Both statues …show more content…
Unlike Michelangelo's ‘David’, where the contours of the body are uninterrupted, Bernini’s ‘David’ shows the contour of the body as crossed over and over again, as if there is a heightened spiralling of the body and forceful twisting simultaneously at different points. Much like the rope in David’s sling shot, you feel that there is a similar tension in his body ~ a spring as he is ready to release. Also, where Ramesses' face is finely carved, David’s face is depicted with a sense of intense concentration. Bernini sculpts David as if he is looking directly at Goliath, where he is biting his lips, pulling his eye brows together, and looking upwards in ready for the following events to …show more content…
The Vitruvian ideas, presented by da Vinci, formed the basis of Renaissance proportion and formed Leonardo’s practice, unifying the arts, architecture, human anatomy and symmetry. Similarly, Goya expresses an interest to represent the flawed aspects of humanity, which feature mutilated human corpses through his ‘Great deeds - against the dead’, particularly as a provocative method against the attitudes of war and characters of military prowess. Goya’s ‘Disasters of War’ series wasn’t partisan, it was a grim observation of man’s potential inhumanity to man, where the first 47 etchings of the series focus on the incidents from war and show the consequences of the conflict on individual soldiers and civilians, of the true barbarities, depicting the anatomy of torture, and the aesthetic and moral nature of