David (Michelangelo)
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| [[Michelangelo]]'s '''''David''''', sculpted from 1501 to 1504, is a masterpiece of [[Renaissance]] [[sculpture]] and one of Michelangelo's two greatest works of sculpture, along with the ''[[Pietà (Michelangelo)|Pietà]]''. It is the ''David'' alone that almost certainly holds the title of the most recognizable statue in the history of art. It has become regarded as a symbol both of strength and youthful human beauty. The 5.17 meter (17 ft) [[marble statue]] portrays the [[Bible|Biblical]] [[David|King David]] at the moment that he decides to do battle with [[Goliath]]. It came to symbolise the [[Florentine Republic]], an independent [[city state]] threatened on all sides by more powerful rival states. This interpretation was also encouraged by the original setting of the sculpture outside the [[Palazzo Vecchio|Palazzo della Signoria]], the seat of civic government in [[Florence]]. The completed sculpture was unveiled on [[8 September]] [[1504]]. | [[Michelangelo]]'s '''''David''''', sculpted from 1501 to 1504, is a masterpiece of [[Renaissance]] [[sculpture]] and one of Michelangelo's two greatest works of sculpture, along with the ''[[Pietà (Michelangelo)|Pietà]]''. It is the ''David'' alone that almost certainly holds the title of the most recognizable statue in the history of art. It has become regarded as a symbol both of strength and youthful human beauty. The 5.17 meter (17 ft) [[marble statue]] portrays the [[Bible|Biblical]] [[David|King David]] at the moment that he decides to do battle with [[Goliath]]. It came to symbolise the [[Florentine Republic]], an independent [[city state]] threatened on all sides by more powerful rival states. This interpretation was also encouraged by the original setting of the sculpture outside the [[Palazzo Vecchio|Palazzo della Signoria]], the seat of civic government in [[Florence]]. The completed sculpture was unveiled on [[8 September]] [[1504]]. | ||
| + | ==Style and detail== | ||
| + | Michelangelo's ''David'' is based on artistic drawings of the male human form. He considered sculpture to be the highest form of art because, among other reasons, it mimics [[creation myth|divine creation]]. Because Michelangelo adhered to the concepts of [[Disegno|''disegno'']], he worked under the premise that the image of ''David'' was already in the block of stone he was working on — in much the same way as the human [[soul]] is found within the physical body. It is also an example of the [[contrapposto]] style of posing the human form. | ||
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| + | In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. As exemplified in Michelangelo’s David, sculptured from 1501 to 1504, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the statue faces to the left while the left arm leans on his left shoulder with his [[Sling (weapon)|sling]] flung down behind his back. Michelangelo’s David has become one of the most recognized pieces of Renaissance Sculpture, becoming a symbol of both strength and youthful human beauty. | ||
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| + | The proportions are not quite true to the human form; the head and upper body are somewhat larger than the proportions of the lower body. The hands are also larger than would be in regular proportions. While some have suggested that this is of the [[mannerism|mannerist]] style, another explanation is that the statue was originally intended to be placed on a church [[façade]] or high [[pedestal]], and that the proportions would appear correct when the statue was viewed from some distance below. <!--these are not published "theories": Another theory is that in the story, David was only thirteen or fourteen years old when he encountered Goliath, therefore the over large hands and feet are intended to portray an adolescent male not fully grown. | ||
| + | Others suggest the head and hands were created larger to represent thinking with the brain and working with the hands, while the genitals were created smaller to imply that David was not allowing himself to make decisions with pleasure in mind. It is said that his right hand is larger than his left hand because he had the "right hand" of god while defeating goliath. It is also said that it is bigger because of balance issues so the statue would not fall over. --> | ||
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| + | Commentators have noted David's apparently [[circumcision|uncircumcised]] form, which is at odds with [[Brit milah|Judaic practice]], but is considered consistent with the conventions of Renaissance art.<ref>"Michelangelo and Medicine" [http://www.pubmedcentral.nih.gov/articlerender.fcgi?artid=1279184] Journal of the Royal Society of Medicine</ref> | ||
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Revision as of 19:48, 25 October 2009
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Michelangelo's David, sculpted from 1501 to 1504, is a masterpiece of Renaissance sculpture and one of Michelangelo's two greatest works of sculpture, along with the Pietà. It is the David alone that almost certainly holds the title of the most recognizable statue in the history of art. It has become regarded as a symbol both of strength and youthful human beauty. The 5.17 meter (17 ft) marble statue portrays the Biblical King David at the moment that he decides to do battle with Goliath. It came to symbolise the Florentine Republic, an independent city state threatened on all sides by more powerful rival states. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September 1504.
Style and detail
Michelangelo's David is based on artistic drawings of the male human form. He considered sculpture to be the highest form of art because, among other reasons, it mimics divine creation. Because Michelangelo adhered to the concepts of disegno, he worked under the premise that the image of David was already in the block of stone he was working on — in much the same way as the human soul is found within the physical body. It is also an example of the contrapposto style of posing the human form.
In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. As exemplified in Michelangelo’s David, sculptured from 1501 to 1504, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the statue faces to the left while the left arm leans on his left shoulder with his sling flung down behind his back. Michelangelo’s David has become one of the most recognized pieces of Renaissance Sculpture, becoming a symbol of both strength and youthful human beauty.
The proportions are not quite true to the human form; the head and upper body are somewhat larger than the proportions of the lower body. The hands are also larger than would be in regular proportions. While some have suggested that this is of the mannerist style, another explanation is that the statue was originally intended to be placed on a church façade or high pedestal, and that the proportions would appear correct when the statue was viewed from some distance below.
Commentators have noted David's apparently uncircumcised form, which is at odds with Judaic practice, but is considered consistent with the conventions of Renaissance art.<ref>"Michelangelo and Medicine" [1] Journal of the Royal Society of Medicine</ref>
