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

***** course, Michelangelo has contributed to this romantic conception of his statue by stating ***** ***** image of David was pre-existing w*****hin the block of marble he used and that he simply liberated the form of the young hero from its confines. "Sculpture" during ***** Renaissance was "considered the finest art ***** because it mimics divine creation." In other words, the sculptural image ***** "found within ***** block of stone much as the human soul is found within the physical body." (Culture Shock, 2003) Michelangelo, 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 ***** must ***** ask why did the *****ist perceive ***** in the fashion that he did? David is a ***** hero 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 ***** to 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, ***** also posed ***** a way that highlights the strikingly perfect nature of his figure ***** face.

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

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


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