Article: David (Michelangelo)
Section: Interpretation

Question: Wo did the Medici commission for the job?

The pose of Michelangelo's David is unlike that of earlier Renaissance depictions of "David".
The bronze statues of David by Donatello and Verrocchio had both represented the hero standing victorious over the head of Goliath, the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his feet, but no earlier Florentine artist had omitted the giant altogether.
According to Helen Gardner and other scholars, David is depicted before his battle with Goliath.
Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.
The statue appears to show David after he has made the decision to fight Goliath but before the battle has actually taken place, a moment between conscious choice and action.
His brow is drawn, his neck tense and the veins bulge out of his lowered right hand.
The twist of his body effectively conveys to the viewer the feeling that he is in motion, an impression heightened with contrapposto.
The statue is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude.
In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture.
This is typified in "David", as the figure stands with one leg holding its full weight and the other leg forward.
This classic pose causes the figure’s hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso.
The contrapposto is emphasised by the turn of the head to the left, and by the contrasting positions of the arms.
Michelangelo’s "David" has become one of the most recognized works of Renaissance sculpture, becoming a symbol of both strength and youthful human beauty.
It was the colossal size of the statue that impressed Michelangelo's contemporaries, however.
Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed."
The proportions of the "David" are atypical of Michelangelo's work; the figure has an unusually large head and hands (particularly apparent in the right hand).
These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture would necessarily be accentuated in order to be visible from below.
The statue is unusually slender (front to back) in comparison to its height.
This may be the result of the work that had been done on the block before Michelangelo began carving it.
It is possible that the "David" was conceived as a political statue before Michelangelo began to work on it.
Certainly David the giant-killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there.
Donatello's bronze "David," made for the Medici family, perhaps 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city.
By placing Michelangelo's statue in the same general location, the Florentine authorities ensured that "David" would be seen as a political parallel as well as an artistic response to that earlier work.
Commentators have noted "David"'s uncircumcised penis, which is at odds with Judaic practice, but is consistent with the conventions of Renaissance art.
In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble.