David ( Bernini ) - wikipedia David ( Bernini ) This article is about the sculpture by Bernini. For other uses, see David ( disambiguation ). David Artist Gian Lorenzo Bernini Year 1623 -- 24 ( 1623 -- 24 ) Catalogue 17 Type Sculpture Medium Marble Subject David 170 cm ( 67 in ) Location Galleria Borghese, Rome Coordinates Coordinates : 41 ° 54 ′ 50.4 '' N 12 ° 29 ′ 31.2 '' E ﻿ / ﻿ 41.914000 ° N 12.492000 ° E ﻿ / 41.914000 ; 12.492000 David is a life - size marble sculpture by Gian Lorenzo Bernini. The sculpture was one of many commissions to decorate the villa of Bernini 's patron Cardinal Scipione Borghese -- where it still resides today, as part of the Galleria Borghese. It was completed in the course of seven months from 1623 to 1624. The subject of the work is the biblical David, about to throw the stone that will bring down Goliath, which will allow David to behead him. Compared to earlier works on the same theme ( notably the David of Michelangelo ), the sculpture broke new ground in its implied movement and its psychological intensity. Contents 1 Background 2 Subject matter 3 Influences 4 Style and composition 5 References 6 External links Background External video smARThistory - Bernini 's David Between 1618 and 1625 Bernini was commissioned to undertake various sculptural work for the villa of one of his patrons, Cardinal Scipione Borghese. In 1623 -- only yet 24 years old -- he was working on the sculpture of Apollo and Daphne, when, for unknown reasons, he abandoned this project to start work on the David. According to records of payment, Bernini had started on the sculpture by mid -- 1623, and his contemporary biographer, Filippo Baldinucci, states that he finished it in seven months. David was Scipione Borghese 's last commission for Bernini. Even before it was finished, Bernini 's friend and protector Maffeo Barberini was elected pope, as Pope Urban VIII. Subject matter The sculpture shows a scene from the Old Testament First Book of Samuel. The Israelites are at war with the Philistines whose champion, Goliath, has challenged the Israelite army to settle the conflict by single combat. The young shepherd David has just taken up the challenge, and is about to slay Goliath with a stone from his sling : 48 When the Philistine ( Goliath ) arose and came and drew near to meet David, David ran quickly toward the battle line to meet the Philistine. 49 And David put his hand in his bag and took out a stone and slung it and struck the Philistine on his forehead. The stone sank into his forehead, and he fell on his face to the ground. Typical shepherds attire only is David 's clothing. At his feet lies the armour of Israel 's King, Saul, given to David for battle. The armor was shed, as David was unaccustomed to it and he can fight better without. Also at his feet is his harp, often included as an iconographic device of David in reference to David the Psalmist and being a talented harpist. Influences The biblical David was a popular subject among Renaissance artists and had been treated by sculptors such as Donatello ( c. 1440s ), Verrocchio ( 1473 - 1475 ) and Michelangelo ( 1501 - 1504 ). Bernini 's David, though engaging with these works, differed from them in some significant ways. For one thing, the sculpture is no longer self - contained, but interacts with the space around it. Not since the sculptures of the Hellenistic period, such as the Winged Victory of Samothrace, had sculptures been involved in their surroundings like those of Bernini. A likely source for Bernini 's figure was the Hellenistic Borghese Gladiator. Another difference lies in the moment that Bernini has chosen to depict. Michelangelo 's David differs from those of Donatello and Verrocchio in that it shows David preparing for the battle, rather than victorious afterwards. Bernini, on the other hand, chose to portray David in the act of throwing the stone. This represented a novelty ; throwing figures were extremely rare in post-Antiquity sculptures. The motion motif did exist in painting, however, and one example was Annibale Carracci 's fresco of the Cyclops Polyphemus throwing a stone. Bernini is likely to have known Carracci 's Polyphemus ; not only was it to be found in the Galleria Farnese in Rome, but Carracci was the painter Bernini ranked as fourth among the greatest ever. Bernini may also have been familiar with the writings of Leonardo da Vinci on the subject. Da Vinci, in his Treatise on Painting, deals with exactly the question of how to portray a throwing figure. It is possible that Bernini applies this theory to his David : If you represent him beginning the motion, then the inner side of the outstretched foot will be in line with the chest, and will bring the opposite shoulder over the foot on which his weight rests. That is : the right foot will be under his weight, and the left shoulder will be above the tip of the right foot. -- Leonardo da Vinci, Treatise on Painting, Another potential candidate as inspiration for Bernini 's David is the celebrated 5th century BC Discobolus by Myron. However, the problem with this theory is that the Discobolus was in the early 17th century only known from literary sources ; the torsos of copies that had survived were not correctly identified until 1781. Both Quintilian and Lucian wrote of the statue, but the descriptions were of a figure stretching or flexing, rather than being in the act of throwing. Style and composition The Baroque saw significant changes in the art of sculpture ; Bernini was at the forefront of this. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini 's David is a three - dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The sculpture relates to an unseen entity -- in the form of Goliath, the object of David 's aggression -- as well as to the spectator, caught in the middle of the conflict. The warrior even literally oversteps the boundaries between life and art, putting his toes over the edge of the plinth. The conventions of time, as well as space, were challenged. Instead of the serene constancy of, for example, Michelangelo 's David, Bernini has chosen to capture a fraction of time in the course of a continuous movement. Thus the latent energy that permeates Michelangelo 's David is here in the process of being unleashed. On an emotional level, Bernini 's sculptures were revolutionary for exploring a variety of extreme mental states, such as the anger seen here. David 's face, frowning and biting his lower lip, is contorted in concentrated aggression. Baldinucci tells an anecdote of how Barberini would hold a mirror up to Bernini 's face so the artist could model the sculpture on himself. This bears witness to Bernini 's working methods, as well as to the close relationship he enjoyed with the future pope. In addition to attempts at realism, David also followed contemporary conventions about how a military figure should be portrayed. As Albrecht Dürer previously had postulated, the vir bellicosus -- the `` bellicose man '' -- was best represented with the rather extreme proportions of a 1 : 10 head - to - body ratio. Furthermore, the warrior has a facies leonina, or the face of a lion, characterized by a receding forehead, protruding eyebrows, and a curved nose ( David was after all later to become the `` Lion of Judah '' ). References Notes Jump up ^ `` Bernini 's David ''. smARThistory at Khan Academy. Retrieved December 18, 2012. Jump up ^ Preimesberger, p. 7. ^ Jump up to : Hibbard, p. 54. Jump up ^ Hibbard, pp. 56 - 57. Jump up ^ 1 Samuel 17 : 39. Jump up ^ 1 Samuel 16 : 23 ^ Jump up to : Gardner, p. 758 Jump up ^ Hibbard, p. 61 Jump up ^ Hibbard, p. 56. ^ Jump up to : Preimesberger, p. 10. Jump up ^ ( The first three were, in order, Raphael, Correggio and Titian. ) Among his own contemporaries he rated Guido Reni as the greatest. ( Hibbard, p. 62. ) Jump up ^ Quoted in Preimesberger, p. 11. ^ Jump up to : Preimesberger, pp. 11 - 2. Jump up ^ Hibbard, p. 57. Jump up ^ Martin, p. 167. ^ Jump up to : Hibbard, p. 55. Jump up ^ Martin, p. 74. Bibliography Avery, Charles ( 1997 ). Bernini : Genius of the Baroque. London : Thames and Hudson. ISBN 9780500286333. Baldinucci, Filippo ( 2006 ) ( 1682 ). The Life of Bernini. University Park : Pennsylvania State University Press. ISBN 9780271730769. Bernini, Domenico ( 2011 ) ( 1713 ). The Life of Giano Lorenzo Bernini. Trans. and ed. Franco Mormando. University Park : Pennsylvania State University Press. ISBN 9780271037486. Gardner, Helen ( 1991 ). Gardner 's Art Through the Ages ( 9th ed. ). San Diego : Harcourt Brace Jovanovich. ISBN 0 - 15 - 503769 - 2. Hibbard, Howard ( 1965 ). Bernini. Baltimore : Penguin Books. ISBN 0 - 14 - 020701 - 5. Martin, John Rupert ( 1977 ). Baroque. London : Allen Lane. ISBN 0 - 7139 - 0926 - 9. Mormando, Franco ( 2011 ). Bernini : His Life and His Rome. Chicago : University of Chicago Press. ISBN 9780226538525. Post, Chandler Rathfon ( 1921 ). A History of European and American Sculpture From the Earliest Christian Period to the Present Day, Vol. II. Cambridge, MA : Harvard University Press. Preimesberger, Rudolf ( 1985 ). `` Themes from art theory in the early works of Bernini ''. In Lavin, Irving. Gianlorenzo Bernini : New Aspects of His Art and Thought. University Park & London : Pennsylvania State University Press. pp. 1 -- 24. ISBN 0 - 271 - 00387 - 1. Wittkower, Rudolf ( 1997 ) ( 1955 ). Gian Lorenzo Bernini : The Sculptor of the Roman Baroque. London : Phaidon Press. ISBN 9780714837154. External links David at the Galleria Borghese. Gian Lorenzo Bernini Sculpture 1610s The Goat Amalthea with the Infant Jupiter and a Faun Bust of Giovanni Battista Santoni A Faun Teased by Children Martyrdom of Saint Lawrence Saint Sebastian Bust of Pope Paul V Aeneas, Anchises, and Ascanius Bust of Giovanni Vigevano Damned Soul Blessed Soul Bust of Camilla Barbadoni 1620s Bust of Carlo Antonio del Pozzo Neptune and Triton The Rape of Proserpina Apollo and Daphne Bust of Pope Gregory XV St. Peter 's Baldachin Charity with Four Children David Bust of Alessandro Peretti di Montalto Saint Bibiana Busts of Pope Urban VIII Bust of Monsignor Pedro de Foix Montoya Bust of Cardinal Roberto Bellarmine Bust of Cardinal Giovanni Dolfin Bust of Cardinal Escoubleau de Sourdis Bust of Antonio Cepparelli Bust of Cardinal Melchior Klesl Two Angels in Sant'Agostino Bust of Francesco Barberini Bust of Antonio Barberini Busts of Cardinals Agostino and Pietro Valier Memorial to Carlo Barberini Tomb of Pope Urban VIII Saint Longinus Sleeping Hermaphroditus ( mattress ) 1630s Statue of Carlo Barberini Two Busts of Cardinal Scipione Borghese Tomb of Countess Matilda of Tuscany Pasce Oves Meas Bust of Costanza Bonarelli Busts of Paolo Giordano and Isabella Orsini Statue of Pope Urban VIII Bust of King Charles I Bust of Thomas Baker Medusa 1640s Bust of Cardinal Richilieu Memorial to Alessandro Valtrini Memorial to Ippolito Merenda Memorial to Maria Raggi Truth Unveiled by Time Bust of Pope Leo X Ecstasy of Saint Teresa Raimondi Chapel Noli Me Tangere 1650s Busts of Pope Innocent X Bust of Francesco I d'Este The Vision of Constantine Daniel and the Lion Habakkuk and the Angel Chair of Saint Peter Saints Jerome and Mary Magdalen 1660s Statue of Alexander VII Busts of Alexander VII Elephant and Obelisk Angel with the Crown of Thorns Angel with the Superscription Bust of Gabriele Fonseca Bust of Louis XIV Equestrian Statue of King Louis XIV 1670s Blessed Ludovica Albertoni Tomb of Pope Alexander VII Statue of Pope Clement X Architecture and fountains St. Peter 's Square Fountains of St. Peter 's Square Fontana della Barcaccia Fontana del Tritone Fontana delle Api Fontana dei Quattro Fiumi Fontana del Moro Paintings Self - Portrait as a Young Man Portrait of Pope Urban VIII Saint Andrew and Saint Thomas Self - Portrait as a Mature Man Portrait of a Boy Christ Mocked Related articles List of works by Gian Lorenzo Bernini Retrieved from `` https://en.wikipedia.org/w/index.php?title=David_(Bernini)&oldid=799069757 '' Categories : 1624 works 17th - century sculptures Bernini sculptures in the Borghese Collection Marble sculptures in Italy Sculptures by Gian Lorenzo Bernini Sculptures depicting David Hidden categories : Coordinates on Wikidata Pages using infobox artwork with the material parameter Pages incorrectly using the quote template Talk Contents About Wikipedia Deutsch Español Français Italiano עברית Nederlands Norsk தமிழ் 中文 Edit links This page was last edited on 5 September 2017, at 13 : 06. 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Question: who sculptured a statue of the biblical hero david
Answer: Gian Lorenzo Bernini