AP Art History-David Paper

7/30/2019 AP Art History-David Paper

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Nishant Grover

2/28/2012

AP Art History

Of the many types of artwork, statue is the type that is able to convey a heightened

sense of emotion and a developed human form. By being three-dimensional and vivid in the

actual world, statues can inspire a viewer in a unique way that no other type of art can do

by truly connecting with the viewers soul and mind. One subject in sculpture that has

managed to impress and inspire audiences over the past centuries is the Biblical figure of

David, slayer of Goliath and King of Israel. Sculptors used David to show the might and will

of humans in fighting evil. This usage taught moral lessons to people and inspired them to

do good as well. The three most famous sculptures of David are the works by Bernini,

Michelangelo and Donatello.

The first famous sculpture of Davis is the work by Bernini. This sculpture is marble

and was created in 1623-24. Berninis rendition shows David right before throwing the

stone that will bring down Goliath. As David arcs back his sling, there is a look of strain and

determination upon the subjects face. This 67-inch work engages in a sort of active or

engaging contrapposto stance in which David has a very flourished motion that takes up

much room. An interesting detail in this piece is the fact that David is clothed which may be

a sign that Bernini wished to show purity of the subject without having to risk the

censorship of the Church or the public. Nevertheless, the flowing of clothes and blowing of

hair add to the effect of an ongoing and captivating action.

The second famous sculpture of David is the work by Michelangelo. This work is

marble and was created in 1504. Michelangelos 17-ft rendition of David depicts the figure

before his battle with Goliath. The poise and contrapposto stance shows Davids calm


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demeanor and how he is not fazed by the impending battle. Davids state of nudity also

shows the purity of the subject and how he will be able to vanquish evil. Michelangelos

depiction is able to calm the viewer and bring resolve and peace. What makes this rendition

of David so popular even amongst modern viewers is the neutral demeanor that the subject

clearly shows on his face while he recreates a Classical pose and, therefore, displays the

true definition of the Renaissance.

The third famous sculpture of David is the work by Donatello. Although the sculptor

created a marble statue of David in 1408, the bronze version is considerably more famous.

Standing at about 5 feet and 2 inches, the bronze David stands triumphantly over

Goliaths severed head after slaying the giant in battle. The contrapposto stance that this

sculpture holds conveys a sense of relaxation, even braggadocio, as David knows he has

saved his Israelites and is the presumptive heir to the throne. The form of this statue differs

from others because Davids slender and feminine figure. This sculpture shows a cultural

change in which such characteristics in a man were seen as more attractive and appealing.

Seeing this statue gives the viewer a sense of pride in his/her race and religion that cannot

be found elsewhere.

Sculpture has a direct pathway to the viewer due to its present and apparent form

and very obvious meaning. It can inspire people or affect them much more than a two-

dimensional painting. One subject that comes alive in sculptures is David. While this subject

has been interpreted many times, the versions by Bernini, Michelangelo and Donatello are

the most profound because each work has a unique story and style that tell different parts

of the Biblical tale. By seeing these independent pieces, the viewer gains different


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perspectives on the same subject and, therefore, a new appreciation for David and

sculpture.


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Works Cited

Avery, Charles, and David Finn (1997). Bernini: Genius of the Baroque. Boston: Bullfinch

Press.

Hall, James, Michelangelo and the Invention of the Human BodyNew York:Farrar, Strausand Giroux, 2005.

Kleiner, Fred S. Gardner's Art Through the Ages. 11th ed. Orlando: Hartcourt College

Publishers, 2001. 567-79. Print.
http://en.wikipedia.org/wiki/Farrar,_Straus_and_Girouxhttp://en.wikipedia.org/wiki/Farrar,_Straus_and_Girouxhttp://en.wikipedia.org/wiki/Farrar,_Straus_and_Girouxhttp://en.wikipedia.org/wiki/Farrar,_Straus_and_Girouxhttp://en.wikipedia.org/wiki/Farrar,_Straus_and_Girouxhttp://en.wikipedia.org/wiki/Farrar,_Straus_and_Giroux

Documents

AP Art History-David Paper