Essay - The Artwork of 'David by Michelangelo' Michelangelo's 'David'—less a Liberation...

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Michelangelo's "David"—Less a Liberation from Marble than the Exemplification of Renaissance Ideals

The sculpture by the Renaissance Italian artist Michelangelo Buonarroti of the Biblical hero "David" is so famous that statue's ubiquitous appearance in parody and ***** actual texts upon the history ***** aesthetics ***** art has rendered the work's appearance a cliche more an a inspiring work of sculpture. However, rather than simply *****mething ***** is a pre-extant ***** for the ages, it is important to remember that the work's construction is the product of a particular period of *****, not something that sprung fully-fledged from ***** mind of *****.

Of course, Michelangelo has contributed to this romantic conception of his statue by stating ***** ***** image of ***** was pre-existing w*****hin the block of marble he used and that ***** simply liberated ***** form ***** the young hero from its confines. "Sculpture" during the Renaissance was "considered ***** finest art ***** because it mimics divine creation." In other words, the sculptural image was "found within the block of stone much as ***** human soul is ***** within the physical body." (Culture Shock, 2003) Michelangelo, thus in his statement, was not simply paying tribute to his own genius or the genius ***** David, but also expressing a common idea about the medium he worked in, typical of ***** era.

An ***** critic rather than an enthusiast about Michelangelo must ***** ask why did the artist perceive ***** in the fashion that he did? David is a Biblical ***** portrayed in a variety of fashions throughout ***** Old Testament book ***** bears h***** name. Michelangelo selected not the king in love with Bathsheba, but a young man who is ***** ***** a rock at Goli*****h's temple. "Michelangelo ***** ***** tense moment before the battle." (Sullivan, 2001) David is po*****ed, almost leisurely, ready to attack, but also posed in a way that highlights the strik*****gly perfect nature of his figure ***** face.

***** artist's focus on David as a handsome ***** man and a brave warrior is keeping with the Italian Rena*****sance fascination for classical antiquity at the time. There was a strong revitalization of interest and knowledge in the period ***** Greece ***** Rome, and the artwork of the ***** era. It is ********** that a l*****ter contemporary ***** the artist *****d Georgio Vasari, stated in 1550, fifty years ********** ***** from 1501-4 that he "marveled" at the ***** of ***** statue, greater than "all other statues, modern or ancient, Greek or Lat*****." He ***** not compare it to ***** religious renditions ***** the figure of David, but to classical antiquity as a *****le. David is less interesting ***** a religious figure ***** Michel*****ngelo's excellence in rendering a particular Renaissance *****l ***** strength and perfection.

***** "David" is both naked ***** powerful looking, in ***** style of the d*****cus thrower of antiquity ra*****r than of statues of the Medieval versions of Christ or ***** Sa*****ts that traditionally show these individuals in states of privation.


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