Comparison of Michelangelo8217s and Bernini8217s Davids Essay example -

similitude of Michelangelo8217s and Bernini8217s DavidsThe greatest artist has no conception which a single thwart of stain does not potentially contain within its mass, but merely a hand obedient to the mind can penetrate to this image.Michelangelo describes in the above quote what it is like to chip at a likeness of a person out of a large close of marble. As we recognise from seeing his work, he did an excellent job with this task. Bernini did just as hunky-dory a job on his, but in a more different way as you will see in the undermentioned pages.MichelangeloMichelangelo was born on March 6, 1475, in Caprese, Italy, a tiny village, own 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 agree to apprentice him to some well- shaftn painters in Florence. Michelangelo was unsatisfied with these artists, because they would not inform him their artistic secrets. He went to work under another compartmentalizer hire by Lorenzo de Medici.When Michelangelo was 21, he went to Rome, where he was commissioned to carve a assembly of marble statues showing the Virgin Mary supporting the dead savior on her knees. His sculpture was called Madonna Della Pieta, and it made Michelangelo famous. A few old age 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 pure white unflawed Carrara marble some 18 feet high and weighing several tons - that had been staidly block out and then abandoned by an earlier sculpturer (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 new era in art, the blue Renaissance.He began carving this statue for the city of Florence. It would become a symbol of this city, a city willing to take on all comers in vin dication force of its liberty (Coughlan 91). The statue acquired this meaning by the way Michelangelo depicted this biblical character. sort of 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 geezerhood before, he portrays David right before the battle begins. David is in the moment where his people be hesitating and Goliath is mocking him. He is placed... ...that will live on forever, just as their names and sculptures will.Works CitedCeysson, Bernard. Sculpture The long usance of Sculpture from the Fifteenth Century to the Eighteenth Century. novel York Rizzloi International Publications, Inc, 1987.Coughlan, Robert. The public of Michelangelo1475-1564. raw 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 striking 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. narration of Art. 4th ed. New York Harry N. Abrams, Inc, 1991.Keutner, Herbert. Sculpture Renaissance to Rococo A tale of Western Sculpture. Greenwich, CT New York Graphic Society, 1969.Stokstad, Marilyn. Art History. New York Harry N. Abrams, Inc, 1995.Wallace, Robert. The human beings of Bernini 1598-1680. New York Time-Life Books, 1970. similitude of Michelangelo8217s and Bernini8217s Davids Essay example -Comparison of Michelangelo8217s and Bernini8217s DavidsThe greatest artist has no conception which a single block of marble does not potentially contain within its mass, but all 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 pers on out of a large block of marble. As we know from seeing his work, he did an excellent job with this task. Bernini did just as bewitching a job on his, but in a practically different way as you will see in the adjacent pages.MichelangeloMichelangelo was born on March 6, 1475, in Caprese, Italy, a tiny village, possess 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 hold to apprentice him to some well-known painters in Florence. Michelangelo was unsatisfied with these artists, because they would not tutor him their artistic secrets. He went to work under another sculptor hire by Lorenzo de Medici.When Michelangelo was 21, he went to Rome, where he was commissioned to carve a theme of marble statues showing the Virgin Mary supporting the dead the Naz bene on her knees. His sculpture was called Madonna Della Pieta, and it made 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 beautiful work out of a huge oblong chunk of pure white unflawed Carrara marble some 18 feet high and weighing several tons - that had been mischievously block out and then abandoned 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 new era in art, the gamey Renaissance.He began carving this statue for the city of Florence. It would become 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. preferably 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.Works 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 Renaissance to Rococo A History of Wes tern 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.