Compare and contract micheloangelo david and bernini's david Essay

Compare and contract micheloangelo david and berninis david - Essay ExampleDuring the reincarnation period, people rediscovered the scientific discipline and knowledge of the ancient worlds of Greece and Rome. The lessons learned from the ancients contributed significantly to the technical developments in realistic painting that emerged during this period through the efforts of a variety of famous artists including Masaccio, Botticelli, Leonardo da Vinci and Michelangelo. As the period waned, Baroque artists such as Caravaggio, Rubens and Bernini focused more upon natural expression, form and emotion in their work. By comparing representative working of sculpture from each of these two periods, such as David by Michelangelo and David by Bernini, one can get a sense of the difference between Renaissance and Baroque art and attitudes as well as an understanding of why these different approaches can sometimes be confused. Michelangelos David was created over a space of deuce-ace year s - from 1501 until 1503 - and was carved out of a solid block of Carrera marble. The figure of David stands more than 17 feet tall and shows him in contrapposto military posture. This means that his back leg is peachy and obviously is supporting most of his weight while his front leg is slightly bent with the foot resting on the ground for balance. This was a favorite thought for Greek and Roman statuary, which is what Michelangelo was trying to replicate using Biblical instead of mythological figures. This pose tends to throw the hips out of alignment, forcing one up and out and the former(a) down and in, which is seen in this statue. At the same time, his right shoulder dips slightly down toward his out-thrust hip and his head twists to look over his slightly raised leftfield shoulder. Michelangelos David is completely nude and stands with his sling resting back over his left shoulder as if he is sizing up his enemy for the stone throw that give bring him victory. His left h and supports the sling near his shoulder while his right hand is held tensely down by his thigh. His hand is bent in a way that suggests he could be holding the stone he intends to use. Davids chin is slightly down, causing his eyes to glare out from under a wavy abundance of bangs hanging over his forehead and he appears ready for the battle about to begin. Berninis David was created more than a century later, carved out of marble during a seven month period from 1623 to 1624. This statue is life-sized and shows David in a moment of action, just as he is about to let his stone fly. His stance can best be described as mid-leap although both feet have contact with the ground. His hips and head face forward, but his upper body is twisted roughly to the side with one arm behind him as he gets ready to launch his missile. Although he is not nude, there is a great deal of muscle system visible in his frame, such as in the lines of his exposed legs and the muscles of his stomach where t he light framework of his garment clings to his body. Whether this is because it is wet with the sweat of his fear in liner the giant or because it is being pressed to his body because of the wind of his motions is unclear. It might even be simply because Bernini wanted to demonstrate a fine digit in his character. The muscles of his upper body seem almost alive as they ripple over his rib cage and through his chest while the fabric of his garment bunches around his upper thighs and hips and fastens over his