Both Michelangelo and Bernini’s David are unique in not only their representations of the eras in which they were sculpted, but also in how the influential eras that came before them played a role in creating them— and how those sculptures will go on to do the same for future artists. Michelangelo’s David, sculpted in 1501-04, is one of the most iconic pieces of the Renaissance, as it best embodies the classical Greek inspirations that defined the Renaissance as an art movement. Though Gianlorenzo Bernini’s David, created in 1623, was sculpted partially as a response to Michelangelo’s, it more accurately illustrates the characteristics that made baroque era of art so distinctive. Michelangelo’s David, depicts David before his attack on the
…show more content…
David’s pose in this piece is essential in understanding the effect it has on the audience, and how it represents the baroque. With David’s torso bent into a tense stance, with one of his arms back as he is just about to throw the rock in his hand, and his other moving out in front of him to balance himself. The cloth around his hips seems to move along with him as he takes a wide step forward with one leg, and the other remains back, to create momentum for the attack. Lastly his expression, with his jaw clenched and brow furrowed, is that of intense concentration and unyielding purpose. The pose creates a natural diagonal line of motion as he leans outside from the invisible confines set by the sculptures base, and into the space of the viewer.
David emanates energy and intense drama that translates over to the viewer very well, creating a connection between sculpture and audience. Bernini uses David’s pose and animated expression to bring the viewer into the moment he has presented—unlike Michelangelo, he does not want his audience to focus on thinking about the sculpture, or the ideas and methods behind it. Rather, he wants his audience to instinctively sense the movement, and feel as if they are right in front of David in his most defining
David’s pose in this piece is essential in understanding the effect it has on the audience, and how it represents the baroque. With David’s torso bent into a tense stance, with one of his arms back as he is just about to throw the rock in his hand, and his other moving out in front of him to balance himself. The cloth around his hips seems to move along with him as he takes a wide step forward with one leg, and the other remains back, to create momentum for the attack. Lastly his expression, with his jaw clenched and brow furrowed, is that of intense concentration and unyielding purpose. The pose creates a natural diagonal line of motion as he leans outside from the invisible confines set by the sculptures base, and into the space of the viewer.
David emanates energy and intense drama that translates over to the viewer very well, creating a connection between sculpture and audience. Bernini uses David’s pose and animated expression to bring the viewer into the moment he has presented—unlike Michelangelo, he does not want his audience to focus on thinking about the sculpture, or the ideas and methods behind it. Rather, he wants his audience to instinctively sense the movement, and feel as if they are right in front of David in his most defining