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Essay / Research Paper Abstract
8 pages in length. Historically, sculpture was not always created for personal expression; religious, political and other motivations played a large role in this particular artistic endeavor. Frustration, elation, infatuation, anger and specific agenda, in addition to a whole host of other motivational factors, have long played a role how and why sculpture is created, with myriad pieces having been formed out of such emotions based upon religious, political, social and personal inspiration. Looking at Donatello's David, Rodin's Age of Brass and Michelangelo's David, one gains a significantly better perspective of these qualifying elements. Bibliography lists 4 sources.
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8 pages (~225 words per page)
File: LM1_TLCSculpt.rtf
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Unformatted sample text from the term paper:
Frustration, elation, infatuation, anger and specific agenda, in addition to a whole host of other motivational factors, have long played a role how and why sculpture is created, with
myriad pieces having been formed out of such emotions based upon religious, political, social and personal inspiration. Looking at Donatellos David, Rodins Age of Brass and Michelangelos David, one
gains a significantly better perspective of these qualifying elements. The aspect of psychological curiosity in Donatellos work is clearly portrayed in David, a piece that illustrates the strength and nobility
of the day, while at the same time puts forth a sense of indifference to the act of victory. Ones lasting impression of Davids mental state is directly related
to his physical fa?ade, inasmuch as Donatello gives no indication whatsoever of Davids prideful spirit from the stoic stance and facial expression. Commissioned in 1408 by the Opera di
Santa Maria del Fiore, Davids foundation in antiquity lends itself to an unmistakable era in sculpting; however, scholars heartily debate as to whether the head of Goliath was actually created
at the same time as the original piece, with many believing it was added on in 1416 when Donatello partially restored the sculpture after it was moved to the Piazza
della Signoria. The reason this particular point is so greatly argued is because of the glaring stylistic differences between David and the head speak to separate periods when they
were both created; that Goliaths head is neither Gothic nor a formal crystallization gives rise to the suspicion of having been added at a later date. These facts serve
to unify the image "in a serene and freely naturalistic nobility so that it seems to offer itself as a conquest immediately following the moment of ancient formal insistence of
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