Merisi, Michelangelo (Caravaggio). David with the Head of Goliath, 1607 or 1609-10. Borghese Gallery, Rome.…
Micaelangelo-> (1475 – 1564) Renaissance sculptor, painter and architect. Michelangelo is often thought of as embodying the spirit of the renaissance. His greatest works include the statue of David and his painting of the Sistine Chapel.…
Humanism, during the Renaissance period not only involved the study of ancient culture, but it also instilled a sense of respect towards human beings. Many artists at the time focused on the beauty and elegance of the human body. One of these artists was Michelangelo, a sculptor and painter. One of his most famous pieces of work was “David”, a 17 foot tall statue of a man. Michelangelo focused on making the statue as realistic as possible, in order to capture said elegance and beauty. Also, due to the context of the statue being directly after David had slain the goliath, Michelangelo chose “David” to be in a victorious pose. This…
Differences between Michelangelo’s David and Bernini’s David are abundant and clear. Bernini’s version of David is a more classical interpretation. It focuses on David’s muscularity and his bone structure. In this version David is clothed, but just barely, ensuring that the viewer can see the definition of David’s muscles, and yet not revealing too much. Bernini’s version also shows David in action, as opposed to Michelangelo’s still pose of David. Bernini chose to sculpt David right in the midst of battle believing this would showcase him the best. This is because Bernini’s version was sculpted during the Baroque period, a time when it was thought that artwork should evoke strong emotions. Whereas Michelangelo sculpted in the Renaissance style, which David in a pose that relayed he was still but ready to move. We can also see differences just within the face of each sculpture. Michelangelo’s version we find being deep in thought, perhaps contemplating his next move, which is typical of classical Renaissance art. Then we have Bernini’s version being tense and concentrating on his next move, as he is battling. This seems to be the classic battle of mind versus brawn. Yet another difference is the actual size of the sculptures. Michelangelo’s version, taking on the characteristics of Greek artists, which was typical during the classical Renaissance period, is oversized. Just as the Greek’s strived for perfection through the human form, so did Michelangelo. Therefore his version is over an extra head tall, whereas Bernini’s is scaled back to a life sized version, making him more relatable. Both sculptures do share the same medium, which is marble.…
· Description of David, by Italian Baroque artist Gianlorenzo Bernini. The sculpture was one of many commissions to decorate the villa of Bernini's patron Cardinal Scipione Borghese…
Michelangelo and Verrocchio both have incredible artistic talents and show it in each of their David sculptures, yet they both convey a different meaning of David in their own ideal and using their own medium. Michelangelo and Verrocchio both represent David in different ways through the meaning they convey, the skills and techniques they use, and the beauty that they each portray . Michelangelo and Verrocchio are both artists from the city of Florence, Italy. In this piece both artists were trying to portray the biblical scene of David fighting Goliath, and winning. Their backgrounds have a major influence on the way they…
During the Renaissance there were many influential sculptures. Artists during the Renaissance experienced a renewed interest in classical Greek and Roman civilization. Christianity played a major role in Renaissance art. David was an important figure in more than one religion. In the Christian religion David was depicted as the youngest son of Jesse, who was a descendant of Jesus Christ, that was sent o the battle lines to bring new of his brothers. While at the front of battle he heard the giant Goliath’s defiance instill fear in the men of Israel. David unexpectedly offered to fight Goliath and actually killed him using only his sling shot and a pouch full of stones. Three artists depicted this biblical story in the Renaissance and those artists were Michael Angelo, Donatello, and Bernini. Donatello’s depiction of David best illustrates the story of David.…
Therefore, “David,” is a fit symbol of courage and civic duty to guard the city. Standing 13’5″ tall, the double life-sized David is depicted patiently waiting for battle, prepped with slingshot in one hand and stone in the other. Michelangelo, in his mid twenties, carved the David after he had already carved the Pieta in Rome. He carved this sculpture from a huge block of marble that had been abandoned decades earlier by another sculptor: Michelangelo took on the challenge of living up to Donatello and other precursors who had sculpted the same heroic figure. Instead of creating David to look relaxed and confident after his victory, Michelangelo's David looks tense and ready for combat. His brow is furrowed, the tendons in his neck are taut, as are the muscles in his nose and lips, and his eyes are focused on something in the distance. Despite this mental concentration, he stands in a relaxed “contrapposto” position, with his sling casually thrown over his left shoulder. This combination of intense expression and calm pose is intended to capture the short period between the decision to fight and the fight itself. The statues hands and head appear to be disproportionally large for his body, possibly because they were deemed more visually important for viewers who would see the statue high up…
and Bernini, all of who created a David sculpture. Each one very unique and different.…
The Mona Lisa, created by Leonardo Da Vinci in 1503 c.e. and David, created by Michelangelo in 1501-04 highlight the late Renaissance artistry techniques and the renewed desire to capture the beauty of individuals (Scailliérez, Cécile). I chose these pieces of art work because the Mona Lisa specifically focuses on individuality while its creation set a standard type of pose painting for the Renaissance artists and David became a symbol of liberty during the Renaissance. The David statue stood tall indicating Florence, where the sculpture was from, was ready for any…
Donatello’s and Michelangelo’s David are similar in many ways. Both sculptures being from the Renaissance, they share some characteristics in form. Each artist positioned the body of David in the contrapposto position. Their bodies are curved, relaxed and shown in the nude. This reflects the popular style of sculpture of the culture and relates the ideas about the human form. Donatello’s David is different from Michelangelo’s most in the physical attributes of the body. Michelangelo’s David has more of the sculpted bodies of the Greek gods. The sculpture is muscular, mature and his physical beauty is not to be overlooked at. Donatello’s David has the body of a young man still developing into his body. Instead of appearing strong and confident, David appears to have a young boy facing a task much harder and larger than him.…
What is regarded as definite step in Renaissance taste is Donatello's statue David. The statue is the first freestanding nude since Roman antiquity. According to an analysis by Professors Lawrence Cunningham and John Reich, Donatello wanted to show the beauty of David's adolescent form wearing only greaves and a shepherd's hat (Cunningham 12).…
The painting itself with its dark dramatic lighting, earthly tones and realistic characters, is strikingly similar to the same scene paint by Caravaggio. The two paintings almost scream for a comparison. The expression of Vignon’s David seems to be one of intense contemplation. As if David is in deep thought and/or shock over the event that had just occurred. David’s facial expression gives the painting a somber and almost remorseful tone; rather than a victorious mood one would expect. Another aspect of Vignon’s painting is the way David is dressed. Draped in fabric obviously not true to the time, David appears both royal as well as somewhat feminine. However David’s feminine appearance could be a highlight of how amazing his accomplishment really was. The depiction of Vignon’s David conquering such a beast is more impressive than if David was portrayed in a more manly fashion. One of the most effective techniques is Vignon’s usage of light. The artist’s choice of lighting immediately draws the viewer’s eye towards David. The eye then follows the beam of light down to the massive visage of the lifeless Goliath; giving the work of art “flow.”…
Donatello rapidly matured his art and soon began creating his own style. In 1408 he finished the life-size sculpture of David. The figure was made out of marble. The figure follows a Gothic style, popular at the time, with long graceful lines and an expressionless face. The work reflects the influences of sculptors of the time. It's very well executed, but it lacks the emotional style and innovative technique that would mark Donatello’s later work. Originally, the sculpture was intended for placement in the cathedral. It was set up in the town hall as a symbol of defiance of authority to Florentines. Michelangelo’s admiration for Donatello is documented for the time of the marble David by a sketch after Donatello’s David. The statue of David would become the most famous body of work by Donatello. He developed his own style of relief known as schiacciato. This technique involved extremely shallow carving and utilized light and shadow to create the full pictorial scene(web). Observations were made that Donatello refrained from giving his works a high finish ,even at the risk of making them seem less attractive at close range ,in order to preserve the vividness of his “artistic handwriting” (Janson 20; vol.2). The harmony of his work melts as in a “fiery glow”, and his personality grows demon-like into his gigantic proportions out of the sturdy workshop tradition of the middle…
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).…