Comparison of Michelangelo\'s and Donatello\'s DAVID PDF

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Summary

This essay compares and contrasts two Northern European statues that depict Biblical hero David (from the story of David and Goliath)

Paper is structured in the following order:

1) Comparison established by identifying works; artist name, title, date, medium, and period

Description

The Davids | Comparisons

The two works in question are David, sculpted by Donatello out of bronze in the 15th Century, from 1440-1460, and David, carved by Michelangelo out of marble in the 16th Century, from 1501-1504. The purpose of Donatello’s David was to provide Florence with a depiction of David, possibly using the Biblical depiction of “right over might” to celebrate the Florentine victory over Milan in 1425. The statue was commissioned by the Medici family to be displayed in their private courtyard, viewed only by them and their educated friends. The bronze, 5’2” work is a young, male figure standing in a contrapposto pose with its left leg bent at the knee and resting over the severed head of Goliath. The figure’s right arm holds a large sword, and the left arm is cocked and casually resting on the hip. This position signals an erotic pose, as it is the back of the hand that meets the hip as opposed to the palm. In the closed fist, the figure holds a rock. David has shoulder-length hair and wears a felt hat laced with laurel leaves. Goliath is fully bearded and wears a helmet with two large feathers, one of which lays sprawled against the base of the statue and the other curves up along the inside of David’s leg. The gaze of the statue is cast downward, but not at the severed head, rather at his own genital area. David has a small smile on his face, paired with a calm expression. The story of David originates in the Bible and tells of a young shepherd boy who, in the midst of a battle between the Philistines and Israelites, is put forth to fight Goliath. David discards his armour and uses a slingshot to stun his opponent before cutting off his head and winning the battle. His victory crowns him the second king of Israel. This lesson of “triumph against all odds” was important to the Florentines, as they were on the brink of war with Milan . Donatello took a risk with his interpretation of David by choosing to sculpt him in the nude, which made this statue the first free-standing nude since antiquity. This shattered the medieval mentality that nudity was an allegory for sinfulness and launched aesthetic classicism. Because of the accentuated nudity, the work is deemed to have homoerotic subtext. This is demonstrated by the feather of Goliath’s helmet snaking up David’s leg in an almost seductive manner, as well as the way David’s

gaze sees potential in his undeveloped musculature. The length of his sword could also symbolize being well-endowed in the future. If not for homoeroticism, the statue may also symbolize political victory, as David’s civilian cap represents peace. The statue is meant to be seen in the round, meaning it does not rely on architecture to support it. It is asymmetrical, with the sword balancing its left side. Donatello used a humanistic approach with the casting, reviving sensual forms from ancient Greek and Roman statuary. At this time, the work would most likely be incredibly controversial because it depicts a Biblical figure in the nude. In 15th Century Florence, casual citizens had no awareness of Greek humanism, to the work could only be viewed by educated friends of the Medici family. Michelangelo’s David similarly acted as a defender of Florence. This statue was commissioned by the Opera del Duomo for the Cathedral of Florence to be one of a series of statues for the Cathedral’s niches. It was meant to be seen by the general public and present a depiction of justice. The work is a male, one carved 17’ out of marble and older than Donatello’s David, standing in a contrapposto pose with his weight on the right leg. The left is bent at the knee, heel rising from the ground as if possessing the ability to step forward. The right hand rests at the thigh and holds a rock clenched in the fist, while the left hand is bent at the elbow and holds a slingshot over the left shoulder. The figure’s head is turned abruptly left, looking outward with an expression of defense. This David breaks containment and always gazes beyond the viewer into the distance, while Donatello’s work is angled more inwards, with an almost coy expression. David has short, curled hair, and a tree stump rests behind his leg to allow material support for the statue. This figure was influenced by Donatello’s other works in terms of the psychological interpretation of what it means to have courage. It symbolizes emotional power and expressive strength, as well as the need to be viewed as more symbolic than narrative. This was the first freestanding public nude, similarly to Donatello’s David in its public intention but serving the general population instead of being limited to scholars and royalty. What ultimately identifies the statue as David is the slingshot and the lack of clothes.

Like Donatello’s work, Michelangelo’s David could be seen in the round, but Michelangelo knew the figure would mostly be viewed from the front, thus having a frontal viewpoint. This statue revived the ancient Greek contrapposto pose, and its posture has visible mistakes in measure and proportion. Michelangelo was a firm believer that these factors should be kept in the eye rather than the measure, and he utilized this knowledge in his sculpting. There is too much tension in the neck and the right hand hangs down too low, but these incorrect proportions are for expressive purposes. The statue, like Donatello’s, is asymmetrical, but what acts as a balance is the head turn. While the body leans towards the lower right, David’s gaze serves to create balance in its sternness. In 16th Century Florence, a public male nude was still considered slightly controversial. Supporters of the Medici threw rocks at the statue when it was revealed, causing one of its arms to crumble. This is the cause of the large crack on David’s left arm. Regardless, Michelangelo stuck to his interest in the concept of the absolute idea and Neoplatonism. When compared to Donatello’s David, the David by Michelangelo is more symbolic rather than narrative, is calm and tense rather than playful, and has more potential for movement. In terms of physical build, Michelangelo’s work is much taller, as well as being carved from marble as opposed to being cast. Both statues represent victory and triumph through hardship, and both revolutionized the appearance of the male nude. These works have a humanistic approach, drawing inspiration from ancient Greek and Roman designs.

Additional Information

- Periods: Donatello’s David is Early Renaissance; Michelangelo’s David is High Renaissance. - Political Context (applies to Donatello’s work): The Medici were essentially the ruling family of Florence in the 15th century, and the commissioning of a "David” may have alluded to the fact that they ruled wisely, just as David had become a wise king of the Israelites. - Political Context: During the start of the High Renaissance, Florence had established a New Republic after the exile of the Medici and other powerful families. Michelangelo’s David was seen as the champion of this new Republic. It stood on guard for Florence demanding that whoever ruled should do so with justice as the biblical David had, now against the Medici....