Comparison of Michelangelo8217s and Bernini8217s Davids Essay example -

proportion of Michelangelo8217s and Bernini8217s DavidsThe greatest artist has no creative activity which a single block of marble does not potentially prevail within its mass, exclusively only a hand obedient to the drumhead can penetrate to this image.Michelangelo describes in the above quote what it is comparable to forge a the likes ofness of a person out of a extensive block of marble. As we know from seeing his work, he did an excellent avocation with this task. Bernini did just as fine a melody on his, solely in a much different look as you impart see in the following pages.MichelangeloMichelangelo was born on March 6, 1475, in Caprese, Italy, a tiny village, owned by the nearby city-state of Florence. His father was the mayor. He attended school in Florence, hardly he was preoccupied by art. When he was 13, his father agreed to apprentice him to some well-known painters in Florence. Michelangelo was unsatisfied with these artists, because they would not teach h im their artistic secrets. He went to work below another sculptor hired by Lorenzo de Medici.When Michelangelo was 21, he went to Rome, where he was accredited to forge a group of marble statues showing the Virgin bloody shame supporting the dead Christ on her knees. His sculpture was called Madonna Della Pieta, and it make Michelangelo famous. A few years later, in 1501, he accepted a commission for a statue of David. He took on the challenge of carving this good-looking work out of a huge oblong chunk of subtle white unflawed Carrara marble some 18 feet high and weigh several tons - that had been badly block out and then addicted by an earlier sculptor (Coughlan 85). This piece had al routes fascinated Michelangelo, moreover neither he, nor anyone else, could think of what to carve from it, until now (Coughlan 85). Thus began a raw era in art, the High Renaissance.He began carving this statue for the city of Florence. It would snuff it a symbol of this city, a city willing to take on all comers in defense of its liberty (Coughlan 91). The statue acquired this meaning by the way Michelangelo depicted this biblical character. Instead of presenting us with the winner of the battle, with the giants head at his feet and a sword in his hand like Donatello did many years before, he portrays David right before the battle begins. David is in the moment where his people are hesitating and Goliath is mocking him. He is placed... ...that will live on forever, just as their names and sculptures will. whole kit and caboodle CitedCeysson, Bernard. grave The Great Tradition of scratch from the Fifteenth Century to the ordinal Century. hot York Rizzloi International Publications, Inc, 1987.Coughlan, Robert. The World of Michelangelo1475-1564. tender York Time-Life confines, 1966.Gilbert, Creighton. Michelangelo. bleak York McGraw-Hill intelligences Co, 1967.Hartt, Frederick. Michelangelo The Complete Sculpture. novel York Harry N. Abra ms, Inc.Heusinger, Lutz. The Library of Great Masters Michelangelo. New York Riverside Book Co, 1989.http//www.geocities.com/Vienna/Choir/4792/david.htmlhttp//www.murrayco.com/eleganza/238David.htmlhttp//www.arthistory.sbc.edu/euroart/117euroart/berninidavid.htmlJanson, H. W. History of Art. 4th ed. New York Harry N. Abrams, Inc, 1991.Keutner, Herbert. Sculpture Renaissance to Rococo A History of Western Sculpture. Greenwich, CT New York Graphic Society, 1969.Stokstad, Marilyn. Art History. New York Harry N. Abrams, Inc, 1995.Wallace, Robert. The World of Bernini 1598-1680. New York Time-Life Books, 1970. Comparison of Michelangelo8217s and Bernini8217s Davids Essay example -Comparison of Michelangelo8217s and Bernini8217s DavidsThe greatest artist has no universe which a single block of marble does not potentially run within its mass, but only a hand obedient to the mind can penetrate to this image.Michelangelo describes in the above quote what it is like to carve a likeness of a person out of a hulking block of marble. As we know from seeing his work, he did an excellent job with this task. Bernini did just as fine a job on his, but in a much different way as you will see in the following pages.MichelangeloMichelangelo was born on March 6, 1475, in Caprese, Italy, a tiny village, owned by the nearby city-state of Florence. His father was the mayor. He attended school in Florence, but he was preoccupied by art. When he was 13, his father agreed to apprentice him to some well-known painters in Florence. Michelangelo was unsatisfied with these artists, because they would not teach him their artistic secrets. He went to work to a lower place another sculptor hired by Lorenzo de Medici.When Michelangelo was 21, he went to Rome, where he was licenced to carve a group of marble statues showing the Virgin bloody shame supporting the dead Christ on her knees. His sculpture was called Madonna Della Pieta, and it do Michelangelo fam ous. A few years later, in 1501, he accepted a commission for a statue of David. He took on the challenge of carving this beautiful work out of a huge oblong chunk of slender white unflawed Carrara marble some 18 feet high and unhurriedness several tons - that had been badly block out and then habituated by an earlier sculptor (Coughlan 85). This piece had always fascinated Michelangelo, but neither he, nor anyone else, could think of what to carve from it, until now (Coughlan 85). Thus began a bare-ass era in art, the High Renaissance.He began carving this statue for the city of Florence. It would rifle a symbol of this city, a city willing to take on all comers in defense of its liberty (Coughlan 91). The statue acquired this meaning by the way Michelangelo depicted this biblical character. Instead of presenting us with the winner of the battle, with the giants head at his feet and a sword in his hand like Donatello did many years before, he portrays David right befor e the battle begins. David is in the moment where his people are hesitating and Goliath is mocking him. He is placed... ...that will live on forever, just as their names and sculptures will. plant CitedCeysson, Bernard. Sculpture The Great Tradition of Sculpture from the Fifteenth Century to the eighteenth Century. New York Rizzloi International Publications, Inc, 1987.Coughlan, Robert. The World of Michelangelo1475-1564. New York Time-Life Books, 1966.Gilbert, Creighton. Michelangelo. New York McGraw-Hill Books Co, 1967.Hartt, Frederick. Michelangelo The Complete Sculpture. New York Harry N. Abrams, Inc.Heusinger, Lutz. The Library of Great Masters Michelangelo. New York Riverside Book Co, 1989.http//www.geocities.com/Vienna/Choir/4792/david.htmlhttp//www.murrayco.com/eleganza/238David.htmlhttp//www.arthistory.sbc.edu/euroart/117euroart/berninidavid.htmlJanson, H. W. History of Art. 4th ed. New York Harry N. Abrams, Inc, 1991.Keutner, Herbert. Sculpture Renaiss ance to Rococo A History of Western Sculpture. Greenwich, CT New York Graphic Society, 1969.Stokstad, Marilyn. Art History. New York Harry N. Abrams, Inc, 1995.Wallace, Robert. The World of Bernini 1598-1680. New York Time-Life Books, 1970.