First Writing Assignment: The Conquering David Chris Walker Professor McManusArt History 1 B 18 March 2002 Walker 1 Chris Walker Professor McManusArt History 1 B 18 March 2002 The Conquering David If there can be such beauty and structure of one man, it can be marveled at through the figure of David. Destined to be the king of Israel, David armed with weapons and wit creates a brave yet intellectual spirit as he defeats the Philistine giant, Goliath. With such a powerful presence as David, it is easy to see how three talented artists could portray a strong and intelligent man in a very different but still successful manner. Michelangelo, Donatello, and Verrocchio all had the same idea of the power that David represented though they all had an obviously different vision of how that power was displayed. Through youth, expression, and composition the artists all manage to capture the courage of David. In Donatello’s figure of David there is a youthful, adolescent, and barely developed young boy.
Donatello manages to combine classicism with realism by presenting a real image of an Italian peasant boy in the form of a classical nude. Instead of a Greek youth David is shown as a little boy with a lack of muscle. It must have been through intellect and courage that the young David defeated the mighty Goliath, whose head lie beside the feet of the conqueror. With his sword at rest on his side it almost seems too heavy for him to handle. David seems somewhat astonished as he looks down upon his body and at the head of Goliath yet at the same time has a surprised confidence. Verrocchio’s sculpture of David has a strong contrast to that of Donatello’s even though they use the same heroic figure.
The Essay on Statues Of David Donatello Bernini Goliath
There have been many states of David sculpted by famous artists like Donatello, Verrocchio, and Michelangelo. Bernini's version of David and is about to begin his attack on Goliath, as he appears posing. The statue seems to be moving through space and the action suggests that the action of flinging the stone requires a lot of room around David. The statue forces the observer to look past the ...
Both artists portray David as an adolescent, but Walker 2 Verrocchio uses a more confident character of David who “appears somewhat older and exclusive with pride and self-confidence rather than a dreamy gaze of disbelief.” (I) As one of the most important sculptors of the mid-fifteenth century, Verrocchio used realism in very minute details and in contrast Donatello used idealistic and realistic elements to define David. Although the two artists use some similar features in their sculptures, such as a some-what close time period, similar size, and same material of bronze; their technique differs greatly causing a different attitude in the figure. Donatello arranges David as a mainly closed-form sculpture with objects and limbs centered on a S-curve stance showing balance. In Verrocchio’s depiction there is more openness as the sword and elbow stick out away from the central axis.
“Donatello’s graceful pose had been replaced in the Verrocchio, by a jaunty that enhances David’s image of self-confidence.” (II) In more of a classical antiquity, Michelangelo, a highly respected architect, sculptor, painter, poet, and engineer uses marble to form an enormous figure (14’3″) of David after being commissioned by the pope. (III) With David’s head turned toward the side it gives the sense that he is watching Goliath approach. David is seen with a muscular body and face giving a feeling of tense expectation to come. In this classical nude sculpture, David has a rugged torso, sturdy limbs, and large hands and feet to show strength.
Michelangelo uses the large figure as a means to occupy a large amount of I. Quotation by Fichner-Rathus, p. 334 II. Quotation by Fichner-Rathus, p. 334 III. Work accomplished during 1501-1504.
Walker 3 space, which is a visual way to portray strength. Unlike the sculptures of Verrocchio and Donatello who show David after he conquers Goliath, Michelangelo’s David uses poise and confidence to show David as the “most beautiful animal preparing to kill-not by savagery and brute force, but by intellect and skill.” (IV) This is a time when David is seen as a youth maturing into a man with his tension and emotion obvious in every vein and muscle. Michelangelo’s David holds poise within him giving a sense of self-confidence. As his sling is cast over his shoulder and stone clutched in the right hand he shows no worry. Like Donatello’s David, Michelangelo also uses a closed form in David.
The Essay on Statues Of David Michelangelo Donatello Sculpture
The pieces of art I will be comparing and contrasting are the three statues of David, by Donatello (Donato di Niccol'o di Bet to Bard i), Michelangelo (Michelangelo di Ludovico Buonarroti Simon i), and Bernini (Gian Lorenzo Bernini). The statues are modeled after the biblical David, who was destined to become the second king of Israel. Also most famously known as the slayer of the Philistine giant ...
All of the elements move firmly around a central axis as in a relaxed position. (V) Together these three artists capture a very powerful image through the actions of David and his dynamic presence. Each structure of David is presented in a different approach, whether by strength and courage or wisdom and intelligence. Donatello, Verrocchio, and Michelangelo all give the viewer a feeling of defeat and a hero to look too. David has been seen as a young adolescent boy with no strength, an older more mature young man with much more confidence, and then a wise intellect. The sculptures of David have remained a sight to see since they were produced and most who view the intense art cannot help but to stand in amazement at the beautiful figures.
The statues of David will always stand to represent the power of intelligence over strength and good over evil. IV. Quotation by Fichner-Rathus, p. 345 V. Quotation by Fichner-Rathus, p.
345 Walker 4 Bibliography Fichner-Rathus, Lois. Understanding Art. Englewood Cliffs, New Jersey: Prentice Hall Inc. , 1995 Leopold, Alexander. Italian Masters.
New York: The Museum of Modern Art, 1940. Meyer, Alfred Gott hold. Michelangelo. Liepzig: Fischer & Wittig, 1904. web.
