Sculptures Of David
From 1430 to 1623A.D., four sculptures of
the Biblical David were created. From
the master artists Bernini, Donatello,
Michelangelo, and Verrocchio came the
most famous David’s of the world. Even
though infinitely many were made, these
surpass the others to become marvels
that will live forever. The earliest of the
David’s, is the work of
Donatello(c.1430). This magnificent work is a
life-size, nude, bronze, figure
of David. The sculpture is portraying the scene
after David has cut off the
head of Goliath. His foot is raised on the severed
head in a stance of
contropposto. His sword is in the right hand with the stone
in the left. This
very smooth and natural looking sculpture was originally part
of Medici
courtyard and is the only David of the four created for a private
collection.
There are a few symbolic ingredients to this David. The style of the
figure
refers to antiquity for the balance and composition of the nude. Energy
in
the sculpture animates the emotions and is a new technique used in
this
David, once again showing qualities from antiquity. This energy is
not used in
the other figures. In addition, Donatello’s David is said to host
homosexual
overtones, in the feministic appearance of the body and the
stance. Overall,
this version of the biblical hero is elegantly designed and
the originality is
fascinating. Verrocchio’s David (c.1473-75A.D.) greatly
differs from those of
the other artists’. This statue was commissioned by the
Medici family, like
that of Donatello’s. However, it was created for public
display. It was in the
Palazzo Vecchio, where it gained almost a
republican or city-related meaning
similar to the reputation that the David
of Donatello gained, after it was also
moved to the same site. The similarity
stops here. The proudness shows that the
hero was well capable of slaying the
giant where Donatello’s shows almost no
emotion. The explicitness of the
emotion contrasts greatly with the sensualness
of Donatello’s. Verrocchio’s
is fully clothed in elegant armor when
Michelangelo’s and as well as
Donatello’s were vulnerable in their nudity.
In Verrocchio’s sculpture,
David carries a small sword in one hand and his
other is on his hip
confidently. This figure shows a nice S-curve and a stance
of contropposto.
Standing above the head of the giant, the sculpture takes place
after the
slaying of Goliath. The facial expression show triumph and most of
all
confidence. Therefore, this work shows psychological implications.
However, it
was meant to be more appreciated for its exceptional bronze
sheen. The gigantic
David by Michelangelo (c.1501-04A.D.) is an
unquestionable masterpiece. It was
originally commissioned as a decoration
for the Florence Cathedral. Since the
sculpture was so majestic, it was
decided to be displayed in a closer, more
visible area. It was finally moved
in front of Piazza della Signoria, where it
would replace a sculpture of
Donatello’s. This David is a full nude that shows
David before battle.
The face is in profile; he has a slingshot in the left hand
and a stone in
the right. The face shows extreme emotion which pulls it away
from the
classical genre. The design and stance of the figure has a confidence
and
arrogance that matched that of its creator, Michelangelo. This version of
the
hero was looked to as a potent symbol in Florence, resembling the
Biblical
beliefs along with the fusion of civic beliefs. This is very unlike
the
symbolism of Donatello’s. The nudity symbolizes that David’s platonic
love
and belief in God protected him. Michelangelo’s David is an
incredible
representation of both the Bible story, in that it closely follows
the
scripture, and reason, in the references to Greek philosophy. Thus
also
symbolizing that reason and faith (Christianity) can coexist.
Finally,
Bernini’s David (c.1623A.D.) conquers all in the expression of
emotion. This
public sculpture has a face full of determination and
struggling. The
exaggerated S-curve of the figure shows movement as David is
throwing the stone.
None of the other three sculptures give insight
during the battle with the
giant. Also, Bernini’s David is clothed in a tunic
and is carrying a pouch of
some sort. He’s holding the rock and slingshot as
in action while his feet are
firmly planted in the ground. This is certainly
the most dramatic and realistic
portrayal of David. Bernini’s objective was
not like the other artists of the
David’s. His objective was drama. The
symbolism is that of moments in his
lifetime. An example of this would be the
harp at his feet, depicting his
abandonment of his music when he went to
fight Goliath. The armor at his feet
showed that his sure feelings and belief
in God protected him. And the slingshot
symbolized the triumph and victory
over the giant. This work is one that gives
the viewer insight into the mind
of David and takes them to the scene. Each
interpretation is interesting and
has a slight mystery attached. All of the four
David’s excel in a
particular area. Bernini’s David has the most emotional
appeal, where
Donatello’s has the most serene and innocent qualities.
Verrocchio’s
displays mighty confidence and Michelangelo’s David best fits
the Biblical
David, in my opinion. Nevertheless, each sculpture will grab your
attention,
leave you wordless and in awe.