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

Of course, Michelangelo has contributed to this romantic conception of his statue by stating that his image of ***** was pre-existing within the block of marble he used and ***** ***** simply liberated ***** form of the young hero from its confines. "Sculpture" during the Renaissance was "considered the finest art ***** because it mimics divine creation." In other words, the sculptural ***** 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 pay*****g tribute to his own genius or ***** genius of David, but also expressing a common ide***** about the medium he worked in, typical of t***** era.

An ***** critic rather than an enthusiast about Michel*****gelo must also ask why did the artist perceive David in the fashion that he did? David is a ***** ***** portrayed in a variety ***** fashions throughout the 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 selected the tense moment before the battle." (Sullivan, 2001) David is po*****ed, almost leisurely, ready to attack, but also posed ***** a way that highlights the strikingly perfect nature of his figure ***** face.

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

***** "David" is both naked and powerful looking, in ***** style of the d*****cus thrower of antiquity ***** than of statues of ***** Medieval versions of Christ ***** the Saints that traditionally show *****se individuals in states of privation.


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