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 ***** actual texts upon the history ***** aesthetics of art has rendered the work's appearance a cliche more an a inspiring work of *****. However, r*****ther than simply something that is a pre-ext*****nt ***** for the ages, it is important to remember that the ***** construction is the product of a particular period ***** history, not something that sprung fully-fledged from ***** mind of *****.

Of course, Michelangelo has contributed to this romantic conception ***** his statue by stating ***** ***** image of David was pre-existing within the block of marble he used and that he simply liberated t***** form of the young hero from its confines. "Sculpture" during the Renaissance was "considered ***** finest art form because it mimics divine creation." In other words, the sculptural ***** was "found within the block of stone much as ***** human soul is found within the physical body." (Culture Shock, 2003) Michelangelo, thus in his statement, was ***** simply pay*****g tribute to his own genius or ***** genius ***** *****, but also expressing a common ide***** about the medium he w*****ked in, typical of ***** era.

An art critic rat*****r than an enthusiast about Michelangelo must ***** ask why did the artist perceive David in the fashion that he *****? David is a Biblical hero portrayed in a v*****riety of fashions throughout the Old Testament book ***** bears h***** name. Michelangelo selected not the king in love with Bathsheba, but a young man who is about ***** a rock at Goliath'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 and face.

***** artist's focus on David as a h*****some young m*****n and a brave warrior is keeping with the ***** Renaissance fascination for classical antiquity at the time. There was a strong revitalization of interest ***** knowledge in the period of Greece and Rome, and the artwork of the classical *****. It is interesting that a later contemporary ***** the artist named Georgio Vasari, stated in 1550, fifty years *****'s ***** from 1501-4 that he "marveled" at the ***** of the statue, greater than "all other *****s, modern or ancient, Greek or Latin." He did not compare it to other religious renditions ***** the figure of David, but to ***** antiquity as a **********. David is less ***** as a religious figure than Michelangelo's excellence in render*****g a ***** Ren**********sance *****al of strength and perfection.

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


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