About The Man Depicted In The Bible David Essay Example

there is a contrast rather than a similarity. Verrocchio portrayed David as a brave and somewhat older figure, devoid of pride and self-confidence, unlike Donatello's dreamy and disbelieving gaze (Fichner-Rathus 334).

Donatello and Verrocchio had different approaches to portraying David. Donatello combined realistic elements with an idealized, Classically inspired torso. In contrast, Verrocchio aimed for absolute realism in the smallest details. The technique used in each sculpture also differed. Donatello's David, referred to as a closed form sculpture, featured an S-curve stance that brought balance to the entire sculpture. Verrocchio, however, opted for an open approach when creating David.

The Verrocchio's David is distinguished by its bared sword and projecting elbow, which deviate from the central core. According to Fichner-Rathus, Donatello's graceful pose in his David was replaced by a jaunty contraposition in the Verrocchio version, accentuating David's self-confidence (334). Michelangelo, another brilliant artist, also sculpted a David. He established his reputation as a sculptor at the age of twenty-seven with this work. It is commonly believed that Michelangelo carved David from a block of marble that was considered difficult to work with.

Michelangelo's creation of David diverged from those of Donatello and Verrocchio. Rather than depicting David after he has already slain his foe, Michelangelo's sculpture presents him as a "most beautiful animal preparing to kill - not by savagery and brute force, but by intelligence and skill" (Fichner-Rathus 345). This version of David is portrayed with a sling draped over his shoulder and holding a stone in his right hand. The muscular details, including the veins, convey David's readiness and preparedness for battle.

The David sculptures by Donatello, Verrocchio, Michelangelo, and Bernini each portray a male figure

in their own unique way. Donatello and Verrocchio depict David as a young male who has just reached manhood and possesses great potential. This portrayal aligns with the classical tradition. Similarly, Michelangelo's David also represents a young man capable of accomplishing anything. Like Donatello's sculpture, Michelangelo's David is a closed sculpture revolving around a central axis.

In contrast, Bernini's David deviates from earlier representations by Donatello, Verrocchio, and Michelangelo. Bernini's sculpture presents a man in full maturity rather than a young boy or man. The sculpture depicts David fully engaged both psychologically and physically. He is shown in the process of slinging a stone with his left hand that ultimately brings down Goliath.

When we observe the creation, we sense a strong urge to step aside as if Goliath is standing directly behind us. This confrontation is intensified by the anticipation of violent action and the temporary halt of David's hidden power (Fichner-Rathus). Bernini's sculpture encompasses three of the five distinct characteristics of art from the Baroque era: motion, an unconventional approach to space, and the introduction of the concept of time. On the other hand, Verrocchio and Donatello opted to depict David after he had achieved his momentous triumph.

In contrast, Michelangelo's David depicts the figure before the battle, with dynamic energy coursing through his muscles. On the other hand, Bernini's David captures the moment during the fight, resulting in a distinct artwork. Unlike other sculptures, Bernini's work incorporates the element of time, encouraging viewers to imagine the completion of David's action. Moreover, the positioning of David also introduces a novel concept of space, as he no longer remains static in a Classical contrapposto pose but extends

into the surrounding space away from a vertical axis.

This movement away from a central core compels the observer to consider both the form and the space amidst and encompassing the forms to fully grasp the entirety of the composition (Fichner-Rathus 360). To grasp this artwork, we must scrutinize it from numerous perspectives, rather than just one. By doing so, we can witness the sculpture undergo transformation. It is evident that the sculptures crafted by Donatello, Verrocchio, Michelangelo, and Bernini diverge. Donatello portrayed David as a young boy who appeared nearly inept and in awe of his own accomplishment.

Verrocchio's David, although young, appears slightly older and more confident than Donatello's version. Meanwhile, Michelangelo's David, having just transitioned into manhood, exudes a powerful aura suggesting he could defeat Goliath. In contrast, Bernini's David is depicted as a fully matured individual, with immense strength and bravery, leaving no doubt about his ability to slay Goliath.