David by Donatello: Bronze Statue, Bargello Museum, Florence David by Donatello Icon of the Florentine Renaissance and Donatello's most revolutionary Statue of David (1440-43) by Donatello Contents  How to Appreciate Modern Sculpture Donatello's Bronze Statue Without doubt one of the greatest sculptures of the quattrocento, and an iconic work of Renaissance sculpture , the bronze statue of David, by Donatello (1386-1466), is one of the most daring interpretations of a Biblical theme in the history of sculpture . Credited with being the first free-standing male nude statue since the era of Greek sculpture , the sleek form and flowing naturalism of David's contrapposto pose, allied to his poised but provocative demeanor and the sensual surface sheen of the bronze, combine to bring the statue to life. This ability to inject human vitality into a standard image of Christian art , was Donatello's greatest skill. Indeed, the gratuitous nudity of the figure transforms it into a living work of classical beauty, exactly in line with the aesthetics of Classical Greek art .

For a young city like Florence, threatened by rival city-states such as Siena and Milan, the feisty warrior boy David was an ideal emblem, and it seems likely that Donatello deliberately gave him a coquettish arrogance, to reflect the Florentine sense of cultural superiority over their rivals - a superiority which had been clearly demonstrated a decade earlier, at the Battle of Romano. Now in the Bargello Museum, Florence, the statue remains - along with David by Michelangelo (1504) - a defining work of Renaissance art by one of the most influential Renaissance sculptors of the age. History Most art scholars believe that the sculpture was commissioned by Cosimo de' Medici (1389-1464), who had a particularly high opinion of Donatello, but exactly when it was made is not known. Majority opinion appears to favour the 1440s, when the new Medici Palace was designed and built by the Florentine architect Michelozzo di Bartolommeo (1396-1472).

In any event, by the time of the wedding of Lorenzo the Magnificent in 1469, the bronze stood in the centre of the courtyard of the Medici palace in Florence. Following the seizure of the Medici palace in 1495, and the expulsion of the Medici family from the city in 1496, the David was placed in the courtyard of the Palazzo della Signoria, where it was installed on a marble column. It was seen here during the mid-16th century by the Mannerist biographer Giorgio Vasari (1511-74) who wrote: "This figure is so natural in its vivacity and softness that artists find it hardly possible to believe it was not moulded on the living form." During the 17th century it was moved to the Pitti Palace , from where it was taken in 1777 to the Uffizi Gallery . Finally, in 1865, it was transferred to the Bargello museum, where it can be seen today. Composition The statue, cast in bronze, stands a little over 5-feet in height (159 cm).

An illustration of the Biblical story of how the young Jewish fighter David killed the armoured Philistine giant Goliath in single combat, armed only with a sling and a few pebbles, it shows David with an enigmatic smile, standing with his foot on Goliath's severed head. The young warrior is naked, except for hat and boots, and holds the sword of Goliath in his right hand. Allegedly inspired by classical depictions of the renowned young beauty Antinous, a favourite of the Roman Emperor Hadrian, Donatello's work was the first unsupported standing bronze statue cast during the Renaissance, and the first of three famous Davids: the other two being the more conventional bronze (1475) by Andrea del Verrochio (1436-88), and the famous marble statue of David (1501-4) by Michelangelo (1475-1564). Other versions include the bronze (1470s) by Bartolomeo Bellano (1440-97); and the marble (162324) by Bernini (1598-1680).

Interpretations Donatello departed from more conventional "heroic" renderings of David by presenting him nude, in the manner of a slim, pre-pubescent boy. This depiction has baffled scholars for centuries. True, the Bible states that David was a beautiful youth, and he was supposed to have gone into battle without any clothes. But if this is true, why is he wearing a hat and boots? And why is he depicted in such an effeminate pose, with the emphasis on his lower stomach? These attributes are quite unnecessary either in terms of Biblical narrative or classical conventions. After all, Michelangelo, also depicted David without clothes, but his was a far more masculine figure. Some art historians have suggested that Donatello was expressing a gay viewpoint through his sculpture, but this seems unlikely. At the time the statue was cast, this vice was illegal, and close to 15,000 people had been put on trial for it. To flaunt such deviancy would be extremely risky, both for the sculptor and patron. In contrast, other experts believe that Donatello was signalling that only with God's help could the diminutive boy have vanquished such a terrible foe as Goliath.

Yet others believe the statue to be an allegory of civic virtues overcoming brutality and irrationality. The only thing that art critics agree on, is that Donatello created one of the most revolutionary male nudes in the history of art . There is no record of any contemporary reaction to the statue, although the fact that it was not placed inside the civic town hall, after the banishment of the Medicis, suggests that it might have been considered controversial. It is worth mentioning that some critics have interpreted certain elements of the statue (feather in Goliath's helmet, David's hat) to mean that the figure depicted is not David but the Greek God Hermes (the Roman Mercury). However, all references from the Early Renaissance (1400-90) clearly identify the sculpture as David. Donatello's Marble Statue of David One should note that in 1408-9, at the age of 23, Donatello carved a bland, conventional 6-foot tall marble sculpture of David for the cathedral of Florence.

Part of a series of 12 statues of prophets, which were originally intended as decorations for the buttresses, this gothic-style piece of religious art ended up in the Palazzo della Signoria, and is now in the Bargello. Sculpture by Donatello Plastic art by Donatello can be seen in situ across Italy - see, for instance, his bronze Equestrian Statue of the Gattamelata (Condottiere Erasmo da Narni) (1444-53) in the Piazza del Santo, Siena - and in several of the world's best art museums , notably the Bargello Museum and the Museo dell'Opera del Duomo (both in Florence). There are several copies of Donatello's David: including a plaster replica at the Victoria & Albert Museum, London; a white marble copy at the Royal Botanic Gardens, Kew, Surrey; and a plaster copy at the Slater Museum in Norwich, Connecticut, United States.

Other Famous Statues For reviews of other celebrated examples of statuary, by some of the world's best sculptors , see the following articles: - Laocoon and His Sons (c.42-20 BCE) Marble, Museo Pio Clementino, Vatican. - David by Michelangelo (1501-4) Marble, Academy of Arts Gallery, Florence. - Rape of the Sabine Women by Giambologna (1583) Marble, Florence.  For more about celebrated Renaissance sculpture, see: Homepage . ENCYCLOPEDIA OF SCULPTURE Donatello: David w/ Gold Guilding - RENAISSANCE MASTERS RENAISSANCE MASTERS “DAVID” c. 1440’s Donatello's masterpiece is obviously a work that sprang from a crystal-clear vision and months of meticulous construction and fastidious planning. Donato di Niccolò di Betto Bardi Ital.

1386 – December 13, 1466 Medium Bronze Sculpture, Brown Patina with Gold Guild (posthumous casting) 1/1 Unique – At request of Italian Minister of Culture H: 60“ x W: 32 “ w D: 22” 850 lb approx. Donatello's David There are so many striking and unique parts to Donatello's David; nearly everything about the statue - from the material from which it was sculpted to the subject's "clothing" - was moldbreaking in some way. Scholars and artists have studied David for centuries in an attempt to both learn more about the man behind it and to more fully discern its meaning. It's clear that there are no accidental compositional elements to David. Donatello was commissioned to carve a statue of David in 1408. The commission came from the operai of the cathedral of Florence, who intended to decorate the buttresses of the tribunes of the cathedral with 12 statues of prophets. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year.

One of the statues was lifted into place in 1409, but was found to be too small to be easily visible from the ground and was taken down; both statues then languished in the workshop of the opera for several years. In 1416 the Signoria of Florence commanded that the David be sent to their palazzo; evidently the young David was seen as an effective political symbol, as well as a religious hero. Donatello was asked to make some adjustments to the statue (perhaps to make him look less like a prophet), and a pedestal with an inscription was made for it: PRO PATRIA FORTITER DIMICANTIBUS ETIAM ADVERSUS TERRIBILISSIMOS HOSTES DII PRAESTANT AUXILIUM (To those who fight bravely for the fatherland the gods lend aid even against the most terrible foes). [ The Bronze David Donatello's bronze statue of David (circa 1440s) is famous as the first unsupported standing work of bronze cast during the Renaissance, and the first freestanding nude male sculpture made since antiquity.

It depicts David with an enigmatic smile, posed with his foot on Goliath's severed head just after defeating the giant. The youth is completely naked, apart from alaurel-topped hat and boots, bearing the sword of Goliath. The Minister of Culture of Italy asked Ferdinando Marinelli to take a mould from the original Donatello David (foreground pedestal) and make an Original Bronze 1/1 with gold gilding traces were discovered gracing the original. This piece was requested by the Medici family to be placed in the center of the courtyard of the Medici Palace in Florence. This daring move showed that the Medici family thought that they could take ownership of David, a symbol of the city of Florence. Because this was such a scandalous idea at the time, Donatello put some shifts on the subject matter that could explain away the identity of David as "just another sculpture". Goliath's helmet has a feather protruding that can be seen as attached to David's foot, and thus characterized as Hermes, the Greek god. The David also has slight breasts which could classify him as a woman if seen from the side where his leg is blocking his testicles.

The Medici were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble David was already in the palazzo). It was moved to the Pitti Palace in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Bargello museum, where it remains today. Left side of Donatello's David According to Vasari, the statue stood on a column designed by Desiderio da Settignano in the middle of the courtyard of the Palazzo Medici; an inscription seems to have explained the statue's significance as a political monument. Giorgio Vasari, Le Vite..., ed. G. Milanesi, Florence, 1878–1885, III, 108. A quattrocento manuscript containing the text of the inscription is probably an earlier reference to the statue; unfortunately the manuscript is not dated. Although a political meaning for the statue is widely accepted, exactly what that meaning is has been a matter of considerable debate among scholars.

Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace designed by Michelozzo was under construction. The iconography of the bronze David follows that of the marble David: a young hero stands with sword in hand, the decapitated head of his enemy at his feet. Visually, however, this statue is startlingly different. David is both physically delicate and remarkably effeminate. The head has been said to have been inspired by classical sculptures of Antinous, a favorite of Hadrian renowned for his beauty. The statue's physique, contrasted with the absurdly large sword in hand, shows that David has overcome Goliath not by physical prowess, but through God. However, the intention of Donatello is still debated among scholars. The boy's nakedness further implies the idea of the presence of God, contrasting the youth with the heavily-armored giant.

David is presented uncircumcised, which is generally customary for male nudes in Italian Renaissance art. The Biblical Text The story of David and Goliath comes from 1 Samuel 17. The Israelites are fighting the Philistines, whose best warrior – Goliath – repeatedly offers to meet the Israelites' best warrior in man-to-man combat to decide the whole battle. None of the trained Israelite soldiers are brave enough to fight the giant Goliath, until David – a shepherd boy who is too young to be a soldier – accepts the challenge. Saul, the Israelite leader, offers David armor and weapons, but the boy is untrained and refuses them. Instead, he goes out with his sling, and confronts the enemy. He hits Goliath in the head with a stone, knocking the giant down, and then grabs Goliath's sword and cuts off his head. The Philistines honorably retired as pacted and the Israelites are saved. David's special strength comes from God, and the story illustrates the triumph of good over evil.

Controversary There are no indications of contemporary responses to the David, however the fact that the statue was not placed in the town hall of Florence in the 1490s indicates that it was viewed as controversial. In the early 16th century, the Herald of the Signoria mentioned the sculpture in a way that suggested there was something unsettling about it: "The David in the courtyard is not a perfect figure because its right leg is tasteless." By mid-century Vasari was describing the statue as so naturalistic that it must have been made from life. However, among 20th- and 21st-century art historians there has been considerable controversy about how to interpret it. Some scholars believed that viewers also became engrossed in distinct achievement and stressed life in this world, as divergent to preparation for afterlife. While the Bible describes David as a beautiful youth, and we can accept a classical basis for the pose and the nudity of the statue (Greco-Roman heroes were typically portrayed as nude males standing in contrapposto), there are nevertheless several disconcerting elements to Donatello's David. David's pose is languid and his expression dreamy, neither of which seems to express the narrative moment.

A pre-pubescent boy could not be expected to have the muscular development of an adult, but the softness of his body and the emphasis on his lower stomach strike most viewers as surprisingly effeminate. The nudity can be explained by David's refusal to wear armor in his confrontation with Goliath, as well as by references to classical heroes, but the fact that he wears a hat and boots makes no sense in terms of either the Biblical narrative or the classical connection and tends to make his lack of clothing seem strange. He places his left foot on Goliath's head; on the one hand, this pose allows Donatello to connect David more strongly to his fallen foe than he did in the marble version. On the other hand, there's something disturbing about the way the beard on the decapitated head curls around David's sandaled foot. Goliath is wearing a winged helmet. David's right foot stands firmly on the short right wing, while the left wing, considerably longer, works its way up his right leg to his groin. The strangeness of the figure has been interpreted in a variety of ways. One has been to suggest that Donatello was homosexual and that he was expressing that sexual attitude through this statue.

A second is to suggest that the work refers to homosocial values in Florentine society without expressing Donatello's personal tendencies. During Classical antiquity, homosexuality had been something that was practiced regularly, and men believed that they could only achieve great love with other men. However, during the time of the Renaissance, when the statue was created, sodomy was illegal, and over 14,000 people had been tried in Florence for this crime. So this homosexual implication was very risky and dangerous. A third interpretation is that David represents Donatello's effort to create a unique version of the male nude, to exercise artistic license rather than copy the classical models that had thus far been the sources for the depiction of the male nude in Renaissance art. What is certain in this statue is that Donatello has not followed any traditions, and the representation is far from bland. David by Donatello statue David by Donatello statue Made of resin and hand coated in antique finish Finish: antique stone finish Weight: 88 lbs (40 kg) Item No.

IT061 This Item is an Identical Museum Reproduction $6,299.00 Product Reviews Details Donatello's bronze statue of David (circa 1440s) is notable as the first unsupported standing work in bronze cast during the Renaissance period, and the first freestanding nude male sculpture made since antiquity. It depicts the young David with an enigmatic smile, posed with his foot on Goliath's severed head just after killing the giant. The youth is standing nude, apart from a laurel-topped hat and boots, bearing the sword of Goliath. There are no documents related to the commission or production of the bronze David. The earliest secure reference to the statue occurred in 1469, when it was described at the center of the courtyard of the Medici Palace in Florence. The Medici were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble David was already in the palazzo).

It was moved to the Pitti Palace in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Bargello museum, where it remains today.[5] According to Vasari, the statue stood on a column designed by Desiderio da Settignano in the middle of the courtyard of the Palazzo Medici; an inscription seems to have explained the statue's significance as a political monument: "Victor est quisquis patriam tuetur/Frangit immanis Deus hostis iras/En puer grandem domuit tiramnum/Vincite cives" (The victor is whoever defends the fatherland. God crushes the wrath of an enormous foe. Behold! A boy overcame a great tyrant.

Conquer, o citizens.)[6] Although a political meaning for the statue is widely accepted, exactly what that meaning is has been a matter of considerable debate among scholars.[7] Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace designed by Michelozzo was under construction.[8] The iconography of the bronze David follows that of the marble David: a young hero stands with sword in hand, the decapitated head of his enemy at his feet. Visually, however, this statue is startlingly different. Naked, but for hat and shoes, David is both physically frail and strikingly effeminate. His physique, which Mary McCarthy called "a transvestite's and fetishist's dream of alluring ambiguity," contrasted with the absurdly large sword by his side, shows that David has conquered Goliath not by physical prowess, but through the will of God.

The boy's nakedness further enhances the idea of the presence of God, contrasting the youth with the heavily-armored giant. David is presented uncircumcised, which is generally customary for male nudes in Italian Renaissance art.[9] Payment PayPal, VISA, MC, AmEx, Google Checkout, checks, bank transfers accepted Shipping Please allow 30 days for delivery. We ship worldwide. Shipping to US and Canada is free $0. Please contact us to obtain shipping cost quote if you are not ordering from US/Canada. Return Policy Item is returnable within 7 days for money back guarantee (minus 20% restocking fee) provided it is returned undamaged in original condition and packaging Write Your Own Review You're reviewing: David by Donatello statue *Nickname Donatello bronze statue of David slaying Goliath gets makeover - Telegraph Italy Donatello bronze statue of David slaying Goliath gets makeover One of the most influential masterpieces of the Renaissance, a bronze statue of David slaying Goliath, has been unveiled in Florence after months of painstaking restoration work.

By Nick Squires in Rome 3:39PM GMT 28 Nov 2008 Cutting-edge laser technology was used to clean more than a century of grime from the statue of the boy who killed Goliath, created by the artist Donatello in the 15th century. Donatello's 15th-century bronze statue of David is unveiled after restoration “The David is incomparably more beautiful now than ever before, even though it would seem impossible,” said Beatrice Paolozzi Strozzi, director of the Bargello Museum that hosts the statue. “We could only intervene now with the newest laser techniques; even the most delicate mechanical procedure would have hurt it,” she said. The 200,000 euro restoration also involved the polishing of a thin layer of gold that adds lustre to the statue. Donatello’s David is regarded as crucial to the history of Western art because it was the first free-standing bronze nude to be created since the time of the Greeks and Romans. It created a sensation when it was created, probably in the 1440s.

It is considered one of the most important Renaissance sculptures, ranking alongside the more famous white marble David by Michelangelo, which was restored in 2004. The bronze statue, standing just over 5ft tall, depicts the young David with his foot on Goliath’s severed head and a large sword in his hand. Apart from a pair of boots and a hat bound with laurels, the figure is naked and almost feminine in its physique. It originally occupied the courtyard of the Medici palace in Florence. After the expulsion of the Medici in 1496, it was placed in the courtyard of the city’s Palazzo Vecchio. Donatello, whose full name was Donato di Niccolo’ di Betto Bardi, was the son of a woolcomber from Florence. He trained as a sculptor in Florence and Rome and his departure from previous art forms is credited with kick-starting the Renaissance. Comparing The Statues Of David Art Essay Comparing The Statues Of David Art Essay Published: Last Edited: 23rd March, 2015 This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.

The story of David and Goliath was one of my favorites growing up. It is a remarkable story about a young brave shepherd named David who saves Israel by challenging and killing a giant named Goliath with nothing more than a slingshot and a bag of stones. The Biblical character of David has been the inspiration for many works of art throughout history. The young David, as Goliath's adversary, has been sculpted by such artists as Verrocchio, Donatello, Michelangelo, and Bernini. Although all of these sculptures are comparable in some aspects, the ones by Donatello and Bernini present significant differences. Donatello was an Italian sculptor of the Early Renaissance whose work is seen as a link from classic to modern art. He trained in Florence with Lorenzo Ghiberti and began working on his own in 1408. Donatello is considered one of the founders of modern sculpture because of he created realistic human expressions and stressed action and character. He is eminent for his use of perspectives, including physical distortions for dramatic effect, and was a master craftsman with a talent for innovation. Probably the most famous example of fifteenth-century sculpture is the bronze David by Donatello.

Dates for the work vary from the 1430s to the 1460s. It is recorded as the centerpiece of the first courtyard in the Palazzo Medici during the wedding festivities of Lorenzo de' Medici and Clarice Orsini in 1469. Some have argued that it was commissioned by Cosimo de' Medici in the 1430s to be the centerpiece of the courtyard of the older Medici house on the Via Larga. Another great creator of the sculpture of David was Gian Lorenzo Bernini. Bernini was a sculptor, painter and architect and a shaping influence as an outstanding advocate of the Italian Baroque. He was an exceptional portrait artist and owes to his father his accomplished techniques in the handling of marble and also an impressive list of patrons that included the Borghese and the Barbarini families. Bernini originally worked in the Late Mannerist tradition but rejected the contrived tendencies of this style. By 1624 he had adopted an expression that was passionate and full of emotional and psychological energy. His figures are caught in a transient moment from a single viewpoint, bursting into the spectator's space.

Bernini created a life-size marble statue of David that was part of a commission to decorate the villa of Bernini's patron Cardinal Scipione Borghese, the Galleria Borghese where it still resides. It was completed in the course of seven months from 1623 to 1624. One major variation between the statues of David is that Donatello's is very early Renaissance, he is going towards more realistic features, whereas, Bernini is working in a more baroque style, combing action and attentiveness, for instance in David's face, to achieve a vitality in the work that is not seen in Donatello's David. Bernini's David was created during the Baroque Period, a time of great liveliness when artists were captivated by movement and the activities of the human body. This sculpture implies action and captures David as he is actually throwing the stone at Goliath. David's muscles are tense and contracted. His face is a grimace of concentration, somewhat contorted by the physical effort of his movements. His loosely flowing robe also adds to the idea of movement. Bernini's sculpture of David was an innovative sculpture for its time, it represents the beginning of a new sculptural artistic.

Another major distinction between Donatello's and Bernini's sculpture is Bernini's captures David during the fight with Goliath while Donatello's portrays David after the fight. Bernini's David depicts movement in a way not previously attempted in stone. The biblical youth is taut and poised to shoot his projectile. The twisted torso, furrowed forehead, and granite grimace of Bernini's David epitomize Baroque fixation with dynamic movement and emotion over High Renaissance inaction and classical severity. The sculpture communicates to an unseen entity, in the form of Goliath, the object of David's aggression, as well as to the observer, 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. Bernini captures the moment when he becomes a hero. In the work of Donatello, the sculpture is portraying the scene after David has cut off the head of Goliath. His foot is raised on the severed head in a stance of contropposto. His sword is in the right hand with the stone in the left. Donatello has softened the static balance and firm stance of the traditional male figure.

This softening is evident in the placement of the two hands as well as the way David's free leg gently rests on the head of Goliath. An additional differentiation between the sculptures is that Donatello's David is nude whereas Bernini's is semi-clothed. Donatello made history when he created this masterpiece, which became the first free-standing bronze sculpture that was completely unsupported and in nude form in the Renaissance period. The art work caused much controversy due to the depiction of the nude male body. There are a few symbolic elements to this David. The style of the figure refers to antiquity for the balance and composition of the nude. Energy in the sculpture animates the emotions and is a new technique used in this David, once again showing qualities from antiquity. This energy is not used in Bernini's David. Another differences between the sculptures is Bernini depict David as more of a man, while Donatello shows him as a young boy. Bernini's David was an action man, determined by his great skill and his likewise great ego to create a new visual ideal, full of action and incredible determination and self-belief.

His hero is full-grown and fully engaged both physically and psychologically, as he takes aim and twists his tensed, muscular body a split second before slinging the stone, grasped in his left hand. Although Donatello was inspired by Classical figures, he did not choose a Greek youth in his prime as a model for his David. Instead, he chooses a barely developed adolescent boy whose arms appeared weak due to the lack of muscles. After defeating Goliath, whose head lies at David's feet, he rests his sword by his side, almost too heavy to handle. It seems almost impossible that a young boy like David could have accomplished such a task. David himself seems skeptical of his deed as he glances down towards his body. Apparently, David's intellect, faith and courage made up for his lack of build. The sculptures of the heroic David are significantly efficacious, Donatello shows David in a moment of thought and triumph, whereas Bernini shows David right in physical preparation for hurling the stone at his opponent. Donatello's sculpture is iconic. It could be said that practically anyone in the world could recognize it, and when asked to name a sculpture would name it.

Bernini's is less known, but that doesn't make it the lesser sculpture. Both men were achievers in the field of marble sculpture, the likes of which the art form may never see again, and both works can be considered masterpieces in their own right. Statue of David Statue of David Michelangelo's Sculpture Is World Famous, Yet There's More Than One David in Florence... The Statue of David by Michelangelo at the Accademia Gallery is just one of the famous Davids in Florence. Many artists have created their likeness of the biblical hero, one of the main symbols of Florence. Read here about the David's that came before (and after) Michelangelo's. Knowing the differences and the similarities between the statues, and how each great work fed off the others will enrich your experience of seeing these unique Renaissance sculptures. Who Was David? The Philistine army was fighting the Israelis. A giant, Goliath, was part of the Philistine army and the Israelis were terrified of him. David was a young boy – not part of the army – but who was nearby. He saw how Goliath taunted and mocked the Israeli soldiers and he got angry. David volunteered to fight the giant.

Not being a soldier, David wasn’t familiar with armor or weapons, and refused both. He went with his simple tunic and slingshot. David felt that his people were in the right and God would protect him – justice would prevail in spite of the weapons that the Philistine giant had. With one shot of his sling, he got a stone to pierce Goliath’s head, the giant collapsed, and David then took Goliath’s sword and cut off the giant’s head. The Connection Between David and Florence Ever since Renaissance times, Florence has seen David as an emblem of the city. David’s strength, courage and youthful confidence were the image that Florence wanted to project. In the 1500’s Florence had regained its status as a republic. David symbolized the city’s independence from outside domination, both foreigners and the aristocracy. Like Florence, David turns out to be more powerful than he looks. Standing guard outside the government offices, the statue is also a reminder of the example to follow: defend boldly and lead justly. The statue of David by Michelangelo Michelangelo’s statue of David has become practically a synonym for Florence.

The making of this famous sculpture had a difficult history.﻿ The marble block that Michelangelo used to make the David had been sitting in the courtyard of today’s Museum of the Works of the Duomo for over 20 years. Two other artists had previously tried to satisfy the Wool Guild's request for a gigantic David, but had found the quality of the marble poor and the massive size too difficult to work with and had given up. So, the partially chiselled mass lay abandoned and exposed to the elements while the commissioners kept hoping to find another sculptor who could make something of it. Michelangelo thought he could do it, and took on the job. He started in 1501 and three years later, on 24 June 1503 (the holiday celebrating the patron saint of Florence, St. John the Baptist) Michelangelo’s outdoor workshop was opened to the public. Like Donatello’s marble David, the sculpture was originally meant to stand on one of the pedestals near the cupola of the Duomo. However, whereas Donatello’s David was considered too small to be seen from the ground, Michelangelo’s statue was considered too great to be ‘hidden away’ in such a spot.

It was clear right away that the David was far too special to be put high up on a church buttress. The picture below shows how this would have looked. A committee was formed to decide the most suitable location to put the masterpiece. The committe was made up of Florence's most authoritative citizens, including fellow artists. It was decided to put the David in front of the main entrance to the town hall. A funny note: Leonard da Vinci was on the committee to choose the best place to put the David. Rather than at the entrance to the building, he suggested a niche on the side of the Loggia – a much more concealed spot. This is considered an apparent case of artistic jealousy between the two geniuses, who supposedly weren't bosom buddies. One of the most notable and unique aspects of Michelangelo's David was that the artist had broken away from his predecessors. Michelangelo was the first artist to depict David getting ready to fling his slingshot, rather than after having defeated the giant. As a result, this is the only Renaissance David that doesn’t include the severed head of Goliath. This choice by Michelangelo would influence later depictions of David.

One example is the 17th century sculptor Bernini whose statue of David (below) also shows the hero ‘before the fact’. Moreover, Michelangelo’s statue of David seems to have a deeper meaning than the others. His hero abounds in both intellect and strength: his eyes squint ever so much in concentration, his mind is calm and deeply focused and there is perfect harmony between David’s muscles and the power they exude. This David seems to represent more than just the one battle, just the one historic moment. Some say that Michelangelo wanted to express his vision of modern man, or the man of the future even. Just like David, he seems to be saying that man is master of his own fate, capable – through his God given gifts – of previously unthought-of accomplishments. Michelangelo's David can be seen at the Accademia Gallery. The First David by Donatello Donatello was the first Renaissance sculptor commissioned to make a statue of David in 1408. This David was sculpted in marble and is quite traditional. The young hero is seen from the front, dressed in robes, with the head of Goliath victoriously at his feet.

The statue is more-or-less life sized at just over 6 feet. David is seen in the conventional posture of a triumphant youth with classical features similar to sculptures found in ancient Greece or Rome. The work was commissioned by the Operai (literally, ‘workers’) of the cathedral who were in charge of the art work in the basilica. The original idea was to have statues of biblical figures placed on the ledges around the terrace of the Duomo. Once the statues were placed on the buttresses though, they turned out to be too small to be seen from the ground and were removed. In 1416 the government of Florence (the Signoria) requested that the David, which had not found a ‘home’ yet, be displayed in Palazzo Vecchio , the town hall. David had already acquired political meaning for the city of Florence. Donatello’s Second Statue of David Made in the 1440’s, this statue was cast in bronze and stands at just over 5 feet. This second David couldn’t be more different from his first.

To begin with, the boy is completely naked, except for – of all things – a stylish wide-brimmed hat (or helmet) with a floral arrangement on top, and a pair of boots tight to the calves. This is a bizarre get-up that scholars still have a hard time explaining. It’s been described as ‘David with a fetish’ by some. Then, David – although certainly a hero – does not give off the aura of strength or virility. In fact, he’s quite effeminate. His hand is on his hip which is pushed out to the right in an almost flirty pose. There’s also his expression: it doesn’t seem fitting for the occasion. He has a far-off look, a wistful air about him, in contrast to a young man who has just slain a giant, sword still in hand and head at his feet. His lack of muscles and visible power could be seen as consistent with the age of a very young boy, although his slight paunch in the belly seem to, undoubtedly, be making an effeminate reference. This is also the only statue of David that depicts the hero with long hair hanging way down his back in ringlets.

Some think Donatello meant his David to be homosexual, although there is no factual evidence to back up this theory. The most widely accepted explanation for such an original take on the figure of David by Donatello is that the artist merely wanted to break away from all classical and traditional ideas of the male nude. Like all great creative minds, he was an innovator. And the result is sublime. This statue of David was likely commissioned by the Medici. The sculpture was in the courtyard of their home and was later sold by the family to the Signoria of the town hall. Both of Donatello’s Davids are on display at the Bargello museum . The statue of David by Verrocchio Verrocchio was a Renaissance artist who, for most of his life, worked for the Medici. He had an even more famous Renaissance artist as a pupil in his Florence workshop, namely Leonardo Da Vinci. It has been said, in fact, that it was the young and handsome Leonardo who was the model for Verrocchio’s David. Verrocchio’s David (circa 1475) is a delicate bronze statue that is just over 4 feet tall. This statue was also commissioned by the Medici.

Verrocchio’s David is clothed in a sort of tunic. One original touch that Verrocchio added was to put gold paint to the trim of David’s clothes and the waves in his hair. The head of Goliath is not a part of the whole statue, but was cast on its own and is a separate piece placed at the feet of the boy. Donatello’s David clearly inspired Verrocchio’s, although not in anti-conventionality. They’re both in bronze, both Davids have their left arm bent and leaning on their hip, and both have the head of Goliath at their feet. Both boys are holding Goliath’s sword in their right hand. They differ in that Verrocchio’s statue of David is modestly dressed whereas Donatello’s is bold and brash in his nudity. They both have a slight smirk, typical of adolescent swaggering. Where Donatello’s depiction is cheekily unique in its beauty, Verrocchio’s is traditionally and poetically striking. Verrocchio’s statue of David can also be seen at the Bargello Museum. Sculpting a Bronze Statue I highly recommend that you go to see Donatello's and Verrocchio's Davids.

(I'm taking it for granted that you are going to go to the Accademia Gallery to see Michelangelo's statue) If you do, you might find yourself wondering how an artist can 'sculpt' something in bronze, a metal. It's certainly not like chiseling into clay, plaster or marble, right? The answer is, you don’t. You sculpt into wax. First the artist builds a sort of skeletal ‘base’ made of metal rods and clay that has more or less the shape and size that the final statue will have, but not the details. On top of this sturdy foundation, a thin layer of wax is spread and the artist sculpts the details into this material. Then, the wax original is covered in soft plaster. When the plaster is hardened, holes are put into it and the wax inside is heated, until it melts away (really melts OUT of the plaster cast, passing through holes). Once the plaster cast is hollowed, the molten bronze can be poured into it. The liquid bronze fills the nooks and crannies left by the now-gone wax. Once it’s cooled and hardened, the plaster outside is removed, and voila!

The statue of David by Donatello and Verrocchio were made using this 'lost wax' method. Find out more about Florence with Quick Links... Essay about David, Michelangelo and Donatello. - 1001 Words David by Donatello and Michelangelo Essay ...David by Donatello and Michelangelo When thinking about a triumph over an unimaginable feat, the story of David and Goliath comes to mind. During the Italian Renaissance, Florence was under constant change and turmoil however David remained a consistent symbol of endless possibilities for the people. “For the Florentines, David represented the essence of civic virtue-courage, fortitude, and faith”... 1199 Words | 4 Pages Michelangelo and Donatello S David Essay ...each by a different artist. The two works of art I am going to focus on are both sculptures that depict the biblical figure of David. One of them is by Donatello and the other by Michelangelo. Donatello’s “David” is an Italian early renaissance sculpture that was commissioned in the 1440’s and stands 158cm high which is life sized.

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Question: Donatello’s Bronze Statue of David shows David’s foot on whose severed head?
Answer: Goliath’s