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 and aesthetics of art has rendered the work's appearance a cliche more *****n a inspiring work of *****. However, r*****ther than simply *****mething that is a pre-ext*****nt ***** 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 the mind ***** Michelangelo.

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

An art critic rat*****r than an enthusiast about ***** must also ask why did the artist perceive David in the fashion that he did? David is a Biblical ***** portrayed in a v*****riety ***** fashions throughout the Old Testament book that bears his name. Michel*****gelo selected not the king in love with Bathsheba, but a young man who is about ***** a rock *****t Goliath'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 and face.

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

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

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