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


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THE ARTWORK OF "DAVID BY MICHELANGELO"

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 sculpture. However, rather than simply *****mething ***** is a pre-extant ***** for the ages, it is important to remember that ***** ***** construction is the product of a p*****icular period of *****, not something that sprung fully-fledged from ***** mind ***** Michelangelo.

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

An ***** critic ***** than an enthusiast about Mic*****l*****gelo must ***** ask why did the artist perceive ***** ***** the fashion that he did? David is a Biblical hero portrayed in a variety ***** fashions throughout ***** Old Testament book that bears his name. Michelangelo selected ***** the king in love with Bathsheba, but a young man who is about to a rock *****t Goliath's temple. "Michelangelo ***** ***** 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 and face.

The *****'s focus on David as a h*****some ***** man and a brave warrior is keeping with the Italian Rena*****sance fascination for classical antiquity at the time. There was a strong revitaliz*****ion of interest ***** knowledge in the period of Greece and Rome, and the artwork of the classical *****. It is interesting that a later contemporary of 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 ***** statues, modern or ancient, Greek or Lat*****." He did not compare it to other religious renditions ***** the figure of David, but to classical antiquity as a whole. David is less ***** ***** a religious figure th*****n Michelangelo's excellence in rendering a particular Renaissance *****l ***** strength and perfection.

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

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