David to the Fourth Power

Donatello's first David

While in Florence the group had the opportunity to see the David; from the biblical story of David and Goliath, portrayed in four different ways by three different artists of the Renaissance. Donatello was the artist who completed two separate and varied sculptures of this biblical character. The first one that he was commissioned to do is strikingly different than the one he did later in his career. This David, which was commissioned to be put onto a Florence cathedral, was done in the early 1400s. It is fully clothed. The stance is contrapposto but it is lacking in emotion. The face of David seems unimpressed with the fact that there is the decapitated head of his foe at his feet. The overall effect of the statue is underwhelming because of the absent reaction in David’s eyes, stance, and appearance.

Donatello's later David

Donatello’s more popular portrayal of David was commissioned in the mid-1400s. It is made completely out of bronze. The size is relatively smaller than the first sculpture because of its purpose. It was a private commission for the Medici family. It was a piece that was placed in their gardens, therefore the stature did not have to be as large as the first one that was meant for the façade of a cathedral. This David is younger and less developed than the previous one. He is also completely nude with the exception of the hat that he is wearing. The face has a suspicious smile that reminds me of the Mona Lisa. It exudes confidence in the stance, the face, and the self-assured way that he is standing on Goliath’s head and holding his sword for balance. This David is also in the contrapposto stance yet his long hair and hand on the hips give it a very effeminate quality.  Our tour guide said this would have been the David that Michelangelo saw when he was beginning his artistic career. We also learned that the David became a symbol for Florence because he was a figure who, against all odds, was able to vanquish his foes. I find it hard to believe that this David was able to defeat Goliath but that is the point. It just stresses the point that no matter how weak or young you are that you have the capabilities to overcome the obstacles in your way.

Michelangelo's David

Michelangelo’s David was completed in the early 1500s. It is the largest piece of sculpture that I have ever seen; 17 feet tall. There are sensors on the back of the left leg where the tree trunk is because it is beginning to crack under the weight of the rest of the sculpture. It only took him four years to complete. Seeing it in person was astonishing. You cannot tell in the photo how large it is. We talked about the sculpture in class before going to see it. We determined that the amount of emotion in the face and the range of interpretations that you can get from it was the most captivating part. Michelangelo took the idea of the Greek and Roman sculptures that emotion should only be seen in the eyes. There is thought behind the marble. While half of the class saw confidence the other half saw a combination of regret and worry. His stance is also in contrapposto but the muscles are more detailed than the previous Davids. Michelangelo looked to the Greek ideal of the perfect form when he was sculpting this piece. He was able to make it nude because of this rebirth but also because of Donatello’s statue. He saw this and was inspired. The fact that they aren’t wearing clothes could be symbolic of the fact that in the Bible David chose not to wear armor.

Bernini's David

In Rome we saw Bernini’s David. It was a life-size figure and it is my personal favorite. The details that Bernini is known for does not disappoint in this piece. It was completed in the 1620s. The figure is in mid throw and Bernini has managed to capture the moment right before the release of the stone. David’s face is riveted in concentration and anticipation. His figure is strong but it is not as defined as Michelangelo’s sculpture. I think that he looks a little older and more defined than the biblical David. I think that the movement is more based in the Hellenistic movement than in the rebirth of the classical. This is probably because this piece was done after the Renaissance had reached its end. It is the only David that is not in the contrapposto form. Instead he is bent in preparation for the release of his rocks. The armor lays discarded at his feet. He is covered by a cloth that is loosely wrapped around his side and legs. I am guessing this is done because of the desire for censorship after the renaissance but I am not sure. The way these different Davids are shown is a way to see the evolution of art over the course of 200 years.