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

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

An ***** critic rat*****r than an enthusiast about ***** must ***** ask why did the artist perceive David ***** the fashion that he did? 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 ***** to a rock at Goli*****h's temple. "Michelangelo selected the tense moment before the battle." (Sullivan, 2001) David is poised, almost leisurely, ready to attack, but also posed ***** a way that highlights the strikingly perfect nature of his figure and face.

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

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


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