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

Of course, Michelangelo has contributed to this romantic conception of his statue by stating ***** his image of David was pre-existing w*****hin the block of marble he used and that he simply liberated ***** form of t***** young hero from its confines. "Sculpture" during the Renaissance was "considered the finest art ***** because it mimics divine creation." In o*****r words, the sculptural image 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 paying tribute to his own genius or the genius of David, but also expressing a common ide***** about the medium he worked in, typical of t***** era.

An art critic ***** than an enthusiast about Michel*****gelo must also ask why did the ********** perceive David ***** the fashion that he did? David is a Biblical hero portrayed in a v*****riety ***** fashions throughout ***** Old Testament book that 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 ***** tense moment before the battle." (Sullivan, 2001) David is po*****ed, almost leisurely, ready to attack, ***** 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 man and a brave warrior is keeping with the Italian Rena*****sance fascination for classical antiquity at the time. There was a strong revitaliz*****ion of interest ***** knowledge in the period ***** Greece and Rome, and the artwork of the classical era. It is interesting that a l*****ter contemporary ***** the artist ********** Georgio Vasari, stated in 1550, fifty years David's ***** from 1501-4 that he "marveled" at the ***** of ***** statue, greater than "all other *****s, modern or ancient, Greek or Lat*****." He ***** not compare it to ***** religious renditions ***** the figure of David, but to ***** antiquity as a whole. David is less interesting as a religious figure ***** Michel*****ngelo's excellence in render*****g a p*****rticular Renaissance ideal of strength and perfection.

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


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