Essay On Donatello

Essay On Donatello-53
Compared to Donatello’s bronze David, also created in Florence – though a half century earlier – we see several tantalizing similarities and differences.Both are heroic nudes standing in contrapposto, though Donatello dressed his figure in boots and a hat.George is an example of Donatello’s emotional realism and his ability to create narratives and characters.

Compared to Donatello’s bronze David, also created in Florence – though a half century earlier – we see several tantalizing similarities and differences.Both are heroic nudes standing in contrapposto, though Donatello dressed his figure in boots and a hat.

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Like the ancient Hellenistic and Roman sculptures who were masters at convincingly depicting the human anatomy, Michelangelo has depicted David so that his body responds to the stance he is in.

David’s weight has been placed on his right leg while his left leg is at rest.

Because the statue was intended to be placed in a high location on the church, it had to be large enough to be seen from below.

Today, it resides not outside the cathedral, but inside the comfortable confines of the Accademia Museum in Florence.

Scale is also an important consideration, since Donatello’s David is less than half the height of Michelangelo’s.

In fact, Michelangelo presents us with David in giant form, which is ironic since his enemy is a giant.is one of Michelangelo’s most-recognizable works, and has become one of the most recognizable statues in the entire world of art.Standing 13’5″ tall, the double life-sized David is depicted patiently waiting for battle, prepped with slingshot in one hand and stone in the other.The marble block used by Michelangelo was originally excavated for a statue to be carved by another sculptor in 1464, but the block was not fully carved.When Michelangelo received his commission in 1501, he was presented with the challenge of using the block which had already been worked upon to some degree. The emblem also appears at the top of the Palazzo Vecchio. 1420 Marble 6’5” (1.95 m) Museo Nazionale del Bargello, Florence “The legs move, the arms are ready, the head alert, and the whole figure acts; by virtue of the character, the manner and form of the action presents to our eyes a valiant, invincible, and magnanimous soul.” – Francesco Bocchi, sixteenth century. George was originally commissioned by the guild of armorers and sword makers (Arte dei Corazzai e Spadai) for their niche outside Orsanmichele, but was moved in the nineteenth century to a museum. It is possible that the cross on the saint’s shield is not only the emblem of the Christian saint, but a reference to the red cross on white ground, which is also the emblem of the Florentine popolo.The twentysomething-Michelangelo carved the David after he had already carved the in Rome in the late 1490s and returned to Florence in 1501.Knowledge of his talent as a sculptor, therefore, was growing, and his career was accelerating when he was commissioned to carve the biblical David for the outside of the Florence Cathedral.When the Germans began to retreat north, so did many of Florence’s great works, including St. Frederick Hartt, a young American lieutenant and art historian, one of many who risked their lives to save Florence’s art, was there to find George and his fellows. George and other works had been removed from their original deposit by the Germans, Hartt ruminates in his memoir: “What loss could Florence have felt more keenly? The ideal hero, the saintly warrior, represented for the Florentines the very incarnation of the martial vigor of their lost republic.” (Hartt, Florentine art under fire, 69) Hartt later quotes the Florentine humanist Niccolò da Uzzano when talking about St.

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