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The baroque period of the seventeenth century rejected and incorporated renaissance ideals in its art. Although Baroque art still aimed to create idealized, natural, and humanistic works, it was also designed in such a way as to intentionally evoke strong emotional responses from its viewers (Castro-Revilla, 2022). Some of the most revealing aspects of the artwork are its lighting, rich colors, arrangement, and diagonal movement through space. The Baroque artwork achieved dramatic and emotional effects that surpassed Renaissance works. Two statues of David, one by Michelangelo in 1501 and the other by Gianlorenzo Bernini in 1623, show the similarities and differences in artistic style across the renaissance and baroque periods.
The David statue by Michelangelo depicts a confident, strong young man, whereas that by Bernini shows the same character in dramatic action and determination. Despite being completely naked, Michelangelos David is a perfect representation of the classically idealized strong nude masculine athlete (Sanders, 2020). David is depicted in a casual, slingshot-carrying stance, yet his intense stare reveals his inner life.
As sculpted by Michelangelo, David appears to be mentally prepared for combat by knitting his brow and staring into space. Gianlorenzo Berninis David, on the other hand, has a very unusual three-dimensional composition and appears to be pushed into the viewers space. This youthful warrior is bent at the waist and twisted to one side, ready to fling the stone at Goliath (Sanders, 2020). Berninis more mature David, with his slim, muscular frame, tightly clenched jaw, and strained muscles, is all about tension, activity, and resolve, as opposed to Michelangelos contemplative young man considering the task in hand.
Michelangelos David shows the moments before battle and excludes props, unlike Berninis David, which shows the moments mid-battle. In Michelangelos sculpture of David, the figure appears to be gaining momentum in preparation for some upcoming event (Sanders, 2020). On the other hand, the figure in Berninis David does not display any reluctance as he fully unleashes this potential energy in an explosive, high-drama action characteristic of the Baroque style.
The whole effect is amazing, especially when viewed from the perspective of Goliath. Even though conversing with a marble statue, the spectator is overcome with genuine anxiety and feels compelled to take protective measures. Only when the observer gives Davids actions meaning by defeating the fictional Goliath does the sculpture come to life for them. When a viewer interacts with David, the spiritual focus shifts from the marble into the viewers space, erasing the distinction between the sculpture and the real world.
Both Michelangelos and Berninis depictions of David represented pioneering advances in artistic ideas. Michelangelo built a simplified version of the David statue in classical style. Although he stands alone, starkly naked, and in contrapposto, there is nothing around him to detract from his idealized beauty and consciousness. The imminence of the action and the personal difficulties of the sculpture are emphasized by Michelangelos skillful balancing of Davids rage with collectiveness.
Similarly, the pivotal moment of high intensity and drama depicted in Berninis Baroque sculpture of David is a departure from the high Renaissance style, conveying more realistic emotions and closer to nature (Sanders, 2020). Berninis David is an example of how art may be made to interact with its surroundings and its audience, breaking down the statues traditional, arrogant status as a standalone entity. Therefore, due to the different approaches that both Michelangelo and Berninis used, the result was remarkably distinct statutes of the same subject matter.
References
Castro-Revilla, H. M. (2022). The spirit of Baroque Art. Journal of Positive School Psychology, 2829-2836. Web.
Sanders, K. (2020). Donatello, Michelangelo, and Bernini: Their Understanding of Antiquity and its Influence on the Representation of David. Department of Art and Art History, University of the Colorado. Web.
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