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

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

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

***** artist's focus on David as a h*****ndsome young man and a brave warrior is keeping with 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 l*****ter contemporary ***** the artist named Georgio Vasari, stated in 1550, fifty years *****'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 did not compare it to other religious renditions of the figure of David, but to classical antiquity as a whole. David is less ***** as a religious figure ***** Michel*****ngelo's excellence in render*****g a particular Renaissance *****al ***** strength and perfection.

***** "David" is both naked ***** 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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