Data Bases • Custom Term Papers • Free Term Papers • Free Research Papers • Free Essays • Free Book Reports • Plagiarism? Links • Top 100 Term Paper Sites • Top 25 Essay Sites • Top 50 Essay Sites • Search 97,000 Papers @ DirectEssays.com • Search 101,000 Papers @ ExampleEssays.com • Search 90,000 Papers @ MegaEssays.com Free Essays • Term Paper Sites • Chuck III's Free Essays • Free College Essays • TermPaperSites.com • My Term Papers • Get Free Essays • Essay World • Planet Papers	Search Lots of Essays Back to Subjects - Art david comparision david comparision 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. Michelangelo’s David and Bernini’s David represent their different time periods and artists while remaining similar. Michelangelo was born in 1475 near Florence. At an early age Michelangelo’s 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 Michelangelo’s 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 David’s 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). David’s large hands represent his strength and are characteristic of the later mannerism style, while the rest of his form is somewhat true to the conventions of the High Renaissance (Shaked 1). Michelangelo’s work embodies the influences of his time just as Bernini’s Bernini born was in Naples in 1598 and was turned on to art at an early age by his father. He grew up with influences such as Hellenistic nudes and Classicism, but his most important artistic factor was being in Rome during the Baroque movement (Dexter 1). Bernini took a different and fitting approach to sculpting David. It was Bernini’s first major work, which he completed at the age of only twenty-one over a period of only seven months. Shakard writes, “[Bernini] depicted David as an artist (of war), using his hands as the means of his art (1). The work depicts him with his slingshot cocked back, his armor on the ground behind him because of it’s weight and his harp shrouded at his feet. Through this Bernini conveys David’s smaller stature and that his life is not one of a warrior. He wants to strike Goliath from afar. David’s face vividly expresses his emotions of determination and concentration (Wallace 27). David is on diagonal plane and is asymmetrical yet balanced. Sharp lines are realistically juxtaposed throughout. The artist creates an illusionistic space in front of David, which engulfs the viewer into the action and captures “a moment frozen in stone” (Janson 556-7). Bernini’s David epitomizes the Baroque art and his time. While Bernini’s work is a perfect example of his style and time, Michelangelo’s work is not truly classicism yet it reflects his time, and they were still very similar. Both were influenced by some of the same elements. Each was greatly influenced by major art cities in Italy, both of their breakthroughs came in Rome and both came into contact with the Hellenistic nudes at an impressionable stage in their art careers. They also both use symbolism to convey meanings. Michelangelo’s work shows David as more reserved and as the strong young man put into an extraordinary situation, and Bernini shows action and depicts David as the artist warrior. Both were the premiere sculptors of their respective periods and styles. I chose these works because I think sculpture has a unique overt expression having three dimensions, making the piece seem more real. Both use the stone medium as a tool for story telling extraordinarily in their own ways. The pieces are not only similar in subject and setting but convey a like message, while conversely they are different in technical ways. Also, I think the iconography of David is very powerful and relative to everyone. Both artists were a reflection of their time and now for all time they live on in stone. Bibliography: Coughlan, Robert. The World of Michelangelo:1475-1564. New York: Time-Life Books, 1966. Dexter, James. “Bernini”. http:www.kfk.hu/~arthp/b/Bernini/gainlore/biograph.html Hart, Frederick. Michelangelo: The Complete Sculpture. New York: Harry N. Abrams, Inc., 1987. Janson, H. W. History of Art. 4th ed. New York: Harry N.Abrams, Inc, 1991. Shaked,Guy. “Bernini: Symbolism in David”. http://www.geocities.com/Vienna/Choir/4792/david.html Wallace, Robert. The World of Bernini: 1598-1680. New York: Time-Life Books, 1970. Word Count: 814
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