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 ***** 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 *****mething that is a pre-ext*****nt ***** for the ages, it is important to remember ***** ***** work's construction is the product of a p*****icular period of *****, not something that sprung fully-fledged from ***** mind of Michelangelo.

Of course, Michelangelo has contributed to this romantic conception ***** his statue by stating that his image of ***** was pre-existing within the block of marble he used and that ***** ***** 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 image was "found within ***** block of stone much as the human soul is ***** within ***** physical body." (Culture Shock, 2003) *****, thus in his statement, was not simply pay*****g tribute to his own genius or the genius ***** David, but also expressing a common idea about the medium he worked in, typical of the era.

An ***** critic ***** than an enthusiast about Michelangelo must ***** ask why did the artist perceive ***** in the fashion that he did? David is a Biblical ***** 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 Goli*****h's temple. "Michelangelo selected the 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 strikingly perfect nature of his figure ***** face.

***** *****'s focus on David as a handsome young man and a brave warrior is keeping with the ***** Rena*****sance fascination for classical antiquity at the time. There was a strong revitalization of interest and knowledge in the period ***** Greece ***** Rome, and the artwork of ***** classical era. It is interesting that a l*****ter contemporary of the artist named Georgio Vasari, stated in 1550, fifty years David's construction from 1501-4 that he "marveled" at ***** ***** of the statue, greater than "all other *****s, 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 interesting as a religious figure ***** Michel*****ngelo's excellence in rendering a p*****rticular Rena*****sance ideal ***** strength and perfection.

Michelangelo's "David" is both naked ***** powerful looking, in ***** style of the d*****cus thrower of antiquity ra*****r than of statues of the Medieval versions of Christ or the Sa*****ts ***** traditionally show *****se individuals in states of privation.


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