The artist Gian Lorenzo Bernini was one of the most significant Italian sculptor and architect of his time. He was only twenty when the world started noticing his talent. Bernini’s representation of David has been prepared by using the concepts of all the wonderful sculptures throughout time. David by Bernini is extraordinary because it changed the way sculptors presented their art. David is observed with a dynamic instability and rhythmos form. Unlike the other David’s by Donatello, Verrocchio or Michelangelo, in which their David’s are more of the motionless, pose varieties, Bernini is observed in motion.
This is just the opposite with the other David’s; they are slow static posing standing still as if someone is photographing them.Much like Myron’s Discobolus, Bernini’s David is seen in flight. David is in the cock position, right leg forward sling at the ready. The stone has now been set in place. With Bernini’s David he com-pletely engages dynamic rhythmos that helps give his sculpture a sense of motion (Soltes, L29, 06:40).
You see David in action on the battle field. This is the start of the fight with Goliath’s and David’s faces show their determination. He knows that it’s all up to him, and with this sculpture being life size, it ap-pears more realistic (Soltes, L29, 05:50). 1Donatello, Verrocchio, Michelangelo and Bernini are all artists who wanted to bring to life this legend through their sculptures. The way in which these artists portrayed their David’s is characterized by the express variations from sculpture to sculpture. One theme that each artist had portrayed in his sculpture is the pride, forte and command of David.When you observe all of the four sculptures, you will find that each artist represented just one of the characteristics of the story of David.
Now, put them all together and you can see the complete legend describe within. Starting with Donatello, you have the young innocent David with his forte and authority coming from his God. Donatello’s David is casted as an older boy, whereas Verrocchio’s is very physical in appearance, but slender and effeminate and he is seen wearing more clothing for mod-estly and a desire for a better acceptance with the people of Florence.Next, you have Verrocchio discovering the subsequent aspect of David. David appearing still young, but he is much more conscious of his strength.
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You could even start to see David appearing as the hero. Verrocchio’s version of his statue of David is the polar reverse of the one that Donatello cast-ed. This casting is made of bronze and has been carefully detailed with various textures. (Soltes, L19, 20:10).
2Verrocchio’s David is small, just less than fifty inches. His slingshot is over his left shoulder and appears to be in a position as in triumph over Goliath, whose head is placed at his feet. He steadfastly holds onto his sword in his right hand at the ready.
When you observed Verrocchio’s David, you find the he made David’s facial expressions to appear to be very anxious and watchful. He is in the ready position to strike at whatever threat may come his way. One could see the veins on David’s arms burst-ing out, similar to that of a real person. The superior scowl of this David’s facial expression compares with the stark reality of conquering death. David’s facial expressions are much more refined and com-posite as if he just realizes what he did and his forthcoming responsibility.Now with Michelangelo’s David, he has discovered the Hero in him. Michelangelo shows David as he prepared for battle with Goliath.
Michelangelo’s David is carved out of marble and is over seven-teenth feet tall. In Michelangelo’s version, the human form is at the maximum level of importance that can be accomplished, giving it almost god-like and flawless. His body is also relaxed and athletic.Michelangelo’s David looks the oldest of all the other David’s. His body is muscular and well expressed like a young man in his prime feet (Soltes, L21, 22:20). 3 It appears as David is about to fight Goliath, unlike Donatello and Verrocchio David’s who already have the head of Goliath at their feet.
David is wearing nothing, he is entirely nude and is not carrying any weapons other than a stone and his sling shot. His face is also different than the other David’s too; for his face is somewhat grimacing as if he has sighted his adversary and is looking toward the viewer.Finishing this legend is Bernini’s sculpting a David in the mist of combat. His masculinity and strength are both celestial and physically (Soltes, L29, 04:20). The stone that is used to kill Goliath is at the ready.
Comparing Bernini’s David to Michelangelo Bernini’s is very heroic and dynamically stable, where Michelangelo’s is static. With Bernini’s David, it carries a definite volume of dramatic energy and joint with an undertaking not found in Michelangelo’s representation. Bernini’s David has his hips pushed out further out the Donatello’s.It is believed that Myron was the first sculptor who seems to have inflated the possibility of re-alism, having more rhythmos to his art works. Myron’s Discobolus which illustrates the Greek logic of harmony and balance may have inspired Bernini’s David (Soltes, L29, 05:59). With Myron’s Discobo-lus, you have the figure just about ready to send the disk into the air. He is cocked back just like Ber-nini’s David is with the slingshot ready to send the stone flying at Goliath.
They both have dynamic stability whereas Donatello, Verrocchio and Michelangelo’s David are not.While both Michelangelo’s and Bernini’s sculptures are portrayals of the same ancient personal-ity, they both characterize David in a dissimilar approach. Michelangelo uses his attentive on David as a container for demonstrating the flawless form of the human. Whereas, Bernini fixated more on ex-pressive the story of David and then invited the onlooker to make their own assumptions about what the sculpture will do next.
