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 ***** 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 sculpture. However, r*****ther than simply something that is a pre-extant ***** for the ages, it is important to remember that ***** ***** construction is the product of a particular period of *****, 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 w*****hin the block of marble he used and that ***** simply liberated the form ***** the young hero from its confines. "Sculpture" during ***** Renaissance was "considered the finest art form because it mimics divine creation." In other words, the sculptural image 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 pay*****g tribute to his own genius or the genius ***** *****, but also expressing a common idea about the medium he w*****ked in, typical of ***** era.

An ***** critic rat*****r than an enthusiast about Michelangelo must also ask why did the artist perceive David in the fashion that he *****? David is a ***** hero portrayed in a variety ***** fashions throughout the Old Testament book ***** bears his 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 the tense moment before the battle." (Sullivan, 2001) David is poised, almost leisurely, ready to attack, but also posed in a way that highlights the strikingly perfect nature of his figure and face.

The artist's focus on David as a h*****ndsome young man and a brave warrior is keeping ***** the ***** Rena*****sance 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 ***** ***** *****. It is *****teresting that a later contemporary of the artist named Georgio Vasari, stated in 1550, fifty years David's ***** from 1501-4 that he "marveled" at the ***** of ***** statue, greater than "all ***** *****s, modern or ancient, Greek or Lat*****." He did not compare it to other religious rend*****ions ***** the figure of David, but to classical antiquity as a **********. David is less interesting ***** a religious figure ***** Michelangelo's excellence in render*****g a ***** Renaissance ideal ***** strength and perfection.

***** "David" is both naked and powerful looking, in the style of the discus thrower of antiquity ra*****r than of statues of the Medieval versions of Christ or ***** Sa*****ts that traditionally show these individuals in states of privation.

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