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Essay / Research Paper Abstract
A 5 page paper comparing the early and high renaissance depiction of David of Donatello and Michelangelo with the baroque representation of Bernini. The viewer is left guessing at what juncture Michelangelo’s David is standing both tense and serene. Donatello’s David clearly has finished his mission but gives no information about the moments preceding. Bernini, by using the baroque concept of time, combines these approaches, thereby placing himself into the baroque period through technique, as well as through chronology. Bibliography lists 10 sources in 14 footnotes.
Page Count:
5 pages (~225 words per page)
File: CC6_KSartDavid.rtf
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Unformatted sample text from the term paper:
David is the subject of sculptures by several artists, including Donatello, Michelangelo and Bernini. Each of these artists has taken a different
approach to depicting the David who would become king of Israel, and depicting him at a time during or near his battle with the giant Goliath. These three artists
provide depiction of David within the context of three artistic periods. Donatello presents David in the early renaissance, Michelangelo in the high renaissance. Bernini makes a later contribution
in the baroque period. "Bernini depicts David about to slay Goliath, which represents the element of time in his work and is one of the defining characteristics of Baroque
art." Renaissance and Baroque Art The early renaissance is characterized by a breaking with medieval style, in which figures were slender and quite
often angular.1 High renaissance art began reflecting growing knowledge of anatomy that had not existed in earlier times.2 Michelangelo was risked great personal loss in pursuing his quest
to determine what lay beneath the surface of human skin. Many prohibitions in terms of examining bodies existed at the time, and Michelangelo quite literally risked his future in
order to provide more accurate representation of the human body. The advances in knowledge made during these years is evident in the art
of the high renaissance. Muscles ripple just beneath the surface of human skin, and the knowledge of the size and arrangement of these muscles enabled artists such as Michelangelo
to add a depth to their work that would not have been possible at an earlier time in history. Artists of the baroque period built on this knowledge.3
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