Both of these works exemplify invenzione. Leonardo’s Mona Lisa has a mysterious expression and moves away from stylized features to show the true personhood of the sitter. Michelangelo’s David conveys the same intention by furrowing his brow and twisting his gaze off into the horizon to show a contemplative David just before he kills Goliath. Both works reveal the psychological complexities of each subject. The David epitomizes contrapposto, showing the pattern of opposing flexed and relaxed muscles throughout the sculpture to capture the moment between coming and going. Mona Lisa is in a seated contrapposto. The axes of her legs to her torso to her head shift subtly, twisting her in space, and giving the feeling that at any moment she could speak or get up from her chair.…
What is regarded as definite step in Renaissance taste is Donatello's statue David. The statue is the first freestanding nude since Roman antiquity. According to an analysis by Professors Lawrence Cunningham and John Reich, Donatello wanted to show the beauty of David's adolescent form wearing only greaves and a shepherd's hat (Cunningham 12).…
Therefore, “David,” is a fit symbol of courage and civic duty to guard the city. Standing 13’5″ tall, the double life-sized David is depicted patiently waiting for battle, prepped with slingshot in one hand and stone in the other. Michelangelo, in his mid twenties, carved the David after he had already carved the Pieta in Rome. He carved this sculpture from a huge block of marble that had been abandoned decades earlier by another sculptor: Michelangelo took on the challenge of living up to Donatello and other precursors who had sculpted the same heroic figure. Instead of creating David to look relaxed and confident after his victory, Michelangelo's David looks tense and ready for combat. His brow is furrowed, the tendons in his neck are taut, as are the muscles in his nose and lips, and his eyes are focused on something in the distance. Despite this mental concentration, he stands in a relaxed “contrapposto” position, with his sling casually thrown over his left shoulder. This combination of intense expression and calm pose is intended to capture the short period between the decision to fight and the fight itself. The statues hands and head appear to be disproportionally large for his body, possibly because they were deemed more visually important for viewers who would see the statue high up…
Donatello’s and Michelangelo’s David are similar in many ways. Both sculptures being from the Renaissance, they share some characteristics in form. Each artist positioned the body of David in the contrapposto position. Their bodies are curved, relaxed and shown in the nude. This reflects the popular style of sculpture of the culture and relates the ideas about the human form. Donatello’s David is different from Michelangelo’s most in the physical attributes of the body. Michelangelo’s David has more of the sculpted bodies of the Greek gods. The sculpture is muscular, mature and his physical beauty is not to be overlooked at. Donatello’s David has the body of a young man still developing into his body. Instead of appearing strong and confident, David appears to have a young boy facing a task much harder and larger than him.…
Michelangelo and Verrocchio both have incredible artistic talents and show it in each of their David sculptures, yet they both convey a different meaning of David in their own ideal and using their own medium. Michelangelo and Verrocchio both represent David in different ways through the meaning they convey, the skills and techniques they use, and the beauty that they each portray . Michelangelo and Verrocchio are both artists from the city of Florence, Italy. In this piece both artists were trying to portray the biblical scene of David fighting Goliath, and winning. Their backgrounds have a major influence on the way they…
If we add into the comparison the sculpture of David done by Donatello we see some similarities to both Michelangelo’s version and to Bernini’s version and we also notice differences from both other sculptures, as well. The first and foremost major difference of Donatello’s David as…
Donatello, whose David was the first life-size nude statue since Classical times, struck a balance between Classicism and the realism by presenting a very real image of an Italian peasant boy in the form of a Classical nude figure. Although Donatello was inspired by Classical figures, he did not choose a Greek youth in his prime as a model for his David. Instead, he chooses a barely developed adolescent boy whose arms appeared weak due to the lack of muscles. After defeating Goliath, whose head lies at David 's feet, he rests his sword by his side, almost to heavy to handle. It seems almost impossible that a young boy like David could have accomplished such a task. David himself seems skeptical of his deed as he glances down towards his body. Apparently, David 's intellect, faith and courage made up for his lack of build (Fichner-Rathus 331-332).…
The Baroque period of the 17th century had both incorporated and rejected the ideals of the antecedent High Renaissance art. Like High Renaissance art, Baroque art focused on making idealized and natural artwork. However, Baroque art introduced a way of involving the viewer into the artwork that was new and differed from High Renaissance art, which instead kept the viewer at a distance. The composition and diagonal movement in the space are two of the features of Baroque Art that originated intense emotional responses in the viewers. These features are reflected in Bernini’s David and they contrast Michelangelo’s David. While the realism and dynamism of Bernini’s David make it a typical Baroque work, Michelangelo’s David high idealization and more static and solid pose make it a typical work of High Renaissance art.…
The Mona Lisa, created by Leonardo Da Vinci in 1503 c.e. and David, created by Michelangelo in 1501-04 highlight the late Renaissance artistry techniques and the renewed desire to capture the beauty of individuals (Scailliérez, Cécile). I chose these pieces of art work because the Mona Lisa specifically focuses on individuality while its creation set a standard type of pose painting for the Renaissance artists and David became a symbol of liberty during the Renaissance. The David statue stood tall indicating Florence, where the sculpture was from, was ready for any…
When thinking of sculptures, one of the first that comes to mind is David. This statue was created of marble between 1501 and 1504 and stands over 14 feet high. David is a symbol that represents strength and anger. The statue had intended political connotations for the ruling of the Medici family. Michelangelo used David as model of "heroic courage" to demonstrate that "spiritual strength can be more effective than arms". Michelangelo insisted that David should stand as a symbol of the republic and act as a warning that Florence shall be governed justly and bravely". This was the first time since antiquity that a large nude statue be exhibited in a public place.…
This bronze model statue of David's it is such a pleasant bit of fine art of one man. This statue shows such an effective nearness as David, has a weapon in his hand and mind makes a bold yet educated soul. There are really three artist the was able to portray a strong and intelligent man in an altogether different yet effective way. Verrocchio, Donatello and Michelangelo all had the same thought of the force that David spoke to however they all had a clearly distinctive vision of how that was shown. The second figure, the naked model It was the nude sculpture known as the first life sized figurine of a man.…
Donatello’s and Michelangelo’s Davids were an artistic representation of the influences of both religion and politics. In theses sculpture, the concepts of Christianity and old religious heroes were a significant foundation in their composition. The Florentine political environment, however, was a much larger part of the composition of both sculptures. Close observations of the sculpted faces of Donatello’s and Michelangelo’s Davids each reflect a representation of the Florentine government at the time of their creation.…
However, the sculptures are drastically different from one another. Each one is unique in its own certain way. Bernini emulated neither Donatello's triumphant boy victor nor Michaelangelo's posturing adolescent. His hero is full-grown and fully engaged-both physically and psychologically-as he takes aim and twists his tensed, muscular body a split second before slinging the stone, grasped in his left hand. David stands alone, but Goliath is simplicity envisioned directly behind the viewer. As a viewer, we are tempted to duck. It is the anticipation of violent action that heightens this confrontation as David's latent power is momentarily arrested. Art of the baroque era is characterized by an emphasis on movement and emotional…
Both visions of David, Donatello's and Michelangelo's, are exceedingly similar in religious context and body construction yet contradictory in numerous aspects. It almost seems like looking at the same person in two different costumes. Both are influenced by Classical Greek sculpture in terms of nudity and contrapposto posture. However, there is a stark difference in the size of the two: Donatello's David stands at 6 feet tall while Michelangelo's David is over twice its size at 14 feet. Another big distinction is in the material and process used in their construction. As stated earlier, Michelangelo showcases the moment before David slays Goliath, where Donatello portrays a scene after the battle. Donatello represented David as a boastful…
Donatello became renowned as the greatest sculptor of the Early Renaissance, his masterpieces being his Humanist and unusually erotic statue of David, one of the icons of the Florentine republic, and his great monument to Gattamelata, the first large equestrian bronze to be created since Roman times.…