Today, just as Homo erectus did eons ago, modern man strives for expression through art. The evolutionary paths of man and art parallel one another; in that, the complexities, which have accompanied the millenniums, also have brought exponentially progressed forms of art. Sculpture is an art form that maintains a high quality of expression. Two examples of this are the Davids done by Michelangelo and Bernini. Michelangelos David and Berninis David represent their different time periods and artists while remaining similar. Michelangelo was born in 1475 near Florence. At an early age Michelangelos interest in art eclipsed that of his studies, and so he began apprenticing at 13 in lieu of regular school. His time under Lorenzo de Medici was the most influential in his young life; this is where he came in contact with Hellenistic nudes, began with anatomy and embedded his humanitarian views. Michelangelo went to Rome at twenty-one and sculpted the Pieta, which made him famous (Coughlan 85-91). In 1501, in which time, he began the monumental task of carving David from a huge block of marble, Florence was experiencing political turmoil. The central meaning of the piece was to symbolize the greatness of Michelangelos proud city. He depicts David before the battle with Goliath as he thought Florence was only just beginning to fight and to remind the people of their duty to defend it (Shaked 1). David is portrayed nude, asymmetrical and in contrapussto an element reminiscent of the Hellenistic heroes. Michelangelo shows Davids slingshot obscured because he was not sure what it looked like and keeps with the biblical tale. The work shows a conflict between line and form with the muscles of the adolescent frame and the flat planes. The dynamic emotion is conveyed through the tightened muscles and wrinkles upon the face in concentration, just as those of every man before a fight (Hart 112). Davids large hands represent his strength...
