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

***** 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 ***** liberated ***** form ***** the young hero from its confines. "Sculpture" during ***** Renaissance was "considered the finest art ***** because it mimics divine creation." In o*****r words, the sculptural ***** was "found within the block of stone much as ***** human soul is ***** within the physical body." (Culture Shock, 2003) *****, thus in his statement, was ***** simply pay*****g tribute to his own genius or the genius ***** *****, but also expressing a common idea about the medium he worked in, typical of the era.

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

The *****'s focus on David as a h*****ndsome ***** 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 and Rome, and the artwork of ***** classical *****. It is interesting that a l*****ter contemporary of the artist named Georgio Vasari, stated in 1550, fifty years *****'s ***** from 1501-4 that he "marveled" at the nature of ***** statue, greater than "all other statues, modern or ancient, Greek or Latin." He did not compare it to ***** religious renditions of the figure of David, but to classical antiquity as a whole. David is less ***** as a religious figure than Michelangelo's excellence in rendering a particular Rena*****sance ideal of strength and perfection.

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


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