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 *****n a inspiring work of sculpture. However, r*****ther than simply something ***** is a pre-extant ***** for the ages, it is important to remember that ***** work's construction is the product of a particular period of *****, not something that sprung fully-fledged from ***** mind of *****.

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

An art critic rather than an enthusiast about Michelangelo must also ask why did the *****ist perceive David ***** the fashion that he *****? ***** is a ***** ***** portrayed in a v*****riety ***** fashions throughout ***** Old Testament book that bears h***** name. Michelangelo selected ***** the king in love with Bathsheba, but a young man who is ***** ***** 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 ***** a way that highlights the strikingly perfect nature of his figure ***** face.

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

***** "David" is both naked ***** powerful looking, in ***** style ***** the d*****cus 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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