Michelangelo Buonarroti and Gianlorenzo Bernini are among the best known artist who curved the statue of David. Michelangelo’s Statue of David is thought to come its completion at around 1504 (Lieberman, Ralph, 11). This is the most acknowledge works of the high Renaissance Period. On the other hand Benini’s David is thought to come to its completion at around 1623-1624. This is one of the sculpture that was fourth to be commissioned as life sized statue by Cardinal Borghese. It is therefore worth examining the two statues of David brought by the two artists to find out their similarities and differences (Connors, Joseph, 59).
As indicated above Michelangelo’s David to a completion at 1504. In this statue David is represented as a very muscular man. The veins on his hands can be seen. In his arms he is holding stones while on the other, the slingshot. This statue was one of the statues planned to be put on top of Florence Cathedral. However this changed and was elected outside where it was accessible for observation by the public in the outer surface of Palazzo della Signoria. Later this statue was transferred to Accademia Gallery at around 1873 for its conservation. This statue did not well-match to a specific situation where it was put in Piazza. It put in such a way that individuals could observe it only from below (Lieberman, Ralph, 79). This is because the statue had a big head and hand that making it not clearly seen while above the pavement. The sculpture is at a relaxed pose, with his one hand besides him while the other one is holding the sling. This one of the indicator that the sculpt represent David based on the biblical stories of David and Goliath. Taking into consideration the position of the sculpture, an observer can see that it standing in a straight position, tensed and very prepared for an attack. The wrinkled forehead brings out a thinking that David is deeply in though of how he will attack the enemy. (Hirst, Michael, 144). The physiognomies of this statue feature are more linked to the Bernini’s David creating a room for a comparison.
As discussed at the introductory part, Bernini’s David was done at about 1622-1624 (Connors, Joseph, 66). This sculpture was specifically made by Cardinal Scipione Borghese so that it could be placed at Borghese Gallery in Rome. From the reading it is not well known if or not David statue was requested for or he just requested for any four subjects in a random manner. Psychologically, this David one of the most advanced among the Borghese statues. This is clearly indicated by David’s widely separated legs, he is twist such that maximum momentum for the swing shot. His head also remain fixed in concentration on massive enemy (Mormando, Franco, 98). The self-explanatory of moving position of sculpture was a huge move in the baroque period. This because this had not been seen expressed on a sculpture. Despite the reinterpreted position, the outlook of the sculpture offers a clear picture to the observer that this is an individual in confrontation with an enemy. It is valuable assumption that this different outlook the sculpture is David completely diverse as those observed there before.
Therefore, Benini’s David can be associated to a player in a competition struggling hard to ensure that he or she wins. This is because such a player puts a lot of efforts and powers while on the pitch to ensure that he succeed. Additionally, it is evident that Baroque art is much focused in ensuring that the observers create a complete link to this image with the mind and body. Benini’s David employs the space besides it to reach out to the observers. As an observer views these statues, one feels what David could be going through while straining tirelessly.
At an initial view, the two sculptures are generally of different styles symbolizing the same information. Between the two, Michelangelo’s Davidoriginates from high renaissance and obsolete origin while the other one, Benini’s David is of baroque origin. In the two statues clearly depict a powerful psychological meaning depicted generally on them (Lieberman, Ralph, 173). The first representation of the two sculptures is that the two are in a fight. This could be either in it or even preparing for it. The similarities between the two, Michelangelo and Benini, while focusing on the statues are clear. First and foremost, the two made use of sling to bring out that the statue symbolizes David as read in the Bible (Careri, Giovanni, 201). The next thing is that both artists did not paint the head of Goliath, which brings in the issue of singularity and making the occurrence unknown. Painting with Goliath head symbolizes success, at this point an observer while observing the statue one can imagine that the battle is still going on or even David is still preparing for this event. Often the head of Goliath is seen on many sculptures of David. This can be verified by sculpture made by such artists as Verrocchio, Donatello and also Caravaggio. Another important issue to focus on is the fact that the two artists were driven by olden days. Benini is driven by posture of the sculpture (Careri, Giovanni, 211). This indicates individual ready for a fight.
The difference between the two can be viewed is various ways. First David brought out by Benini clearly indicates that he is on a move to attack an incoming enemy. On the other hand, David brought out by Michelangelo clearly shows an individual who is still thinking of a best strategy to apply in his attack. As a result interpreting Michelangelo’s David becomes difficult. A conclusion can be reached that Benini used Michelangelo’s work generate a representation symbolizing bodily and emotional arousal. The High Renaissance as stated earlier it is evident that the statues are in a completely stable state (Lieberman, Ralph, 193). However in Baroque period, the statues are diagonally placed as indicated by the Benini’s David. It is important to note that the lines depicts movement and energy and at same time drama making it very different from Renaissance sculptures.
In conclusion, despite the overview, similarities and differences of the statues, the two statues from the two periods can be assumed to be bringing out the paths to God. From the statue by Michelangelo, it is evident that David is contemplating about the battle before him. From this, one can come into a conclusion that Michelangelo is telling to remain silent and think the absurd goodness of David’s body (Hirst, Michael, 55). This being the God’s greatest creation, we will acknowledge God and know him. In the Benini’s David it is evident that there is no thinking. The assumption during this era is that, the path to God is more directed, emotional and more bodily.
Works Cited
Connors, Joseph. "Bernini's S. Andrea Al Quirinale: Payments and Planning." Journal of the Society of Architectural Historians / Society of Architectural Historians. (1982): 15-37. Print.
Lieberman, Ralph. "Regarding Michelangelo's Bacchus." Artibus Et Historiae / Istituto Internationale Per Le Ricerche Di Storia Dell'arte (irsa). (2001): 65-74. Print.
Mormando, Franco. Bernini: His Life and His Rome. Chicago: University of Chicago Press, 2011. Print.
Hirst, Michael. Michelangelo: The Achievement of Fame. New Haven, Conn: Yale Univ. Press, 2012. Print.
Careri, Giovanni. Bernini: Flights of Love, the Art of Devotion. Chicago: University of Chicago Press, 1995. Print.
