<p style="text-align: center"><strong><img class="aligncenter" src="http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg" alt="" width="216" height="404" /></strong><a href="http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>
Sensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->

Donatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.

During this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.

“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.

Donatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).

Donatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  “It’s as if the result of his heroic triumph, he has become aware of his body’s beauty and strength.”  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.

Despite its typicality of its era, Donatello’s David was considered very innovative as it was the “first large-scale, free-standing nude statue of the Renaissance” (Donatello).  During this time, free-standing figures were generally used in architecture.  David provides a subtle independence in Renaissance art and therefore reintroduced to art history that of independent focus on a sculpture.  Donatello’s passion for classical art influenced his bronze creation that he had reclaimed from the ancient world.  A large-scale bronze casting was very unusual for the people of his time, for bronze figures were not seen since antiquity (Harris).

Donatello also introduced a new style to his rebirth of humanism in his bronze David that was very unusual for his time.  This style had both stepped on toes during its time and called for the attention to this today.  Fiero suggests that Donatello illustrates his rejection of the view of a sinful human body, and instead exalted the body, thus created a nude sculpture.  He viewed “the body as the seat of pleasure” (Fiero).  He adds a sensual visual for his time and has sparked questions of a message of homosexuality for the David.  Such a feminine stance for a male figure was unheard of during the Renaissance, especially since Christianity continued to be increasingly popular among people.  Whether people rejected his innovation and unusual style, Donatello’s David had influenced other great artists to try their own innovative styles and spark questions just like Donatello.

During the Early Renaissance, many people considered paintings and sculptures high class art especially since the wealthy or religious institutions commissioned them.  As the bronze David portrayed a biblical hero that depicted a young boy, an underdog, who withstood attacks from the enemy, so too do the Florentines believe that they were the underdog who were victorious.  They considered Donatello’s David as the symbol of the Republic of Florence because of God’s favor in both him and the city of Florence who were constantly attacked by Milan.  Like David, they believed that they were only victorious with the help of God (Harris).  This illustrates the strength of the Christian church to influence such beliefs throughout history.

During this time, despite its religious framework, many people were appalled that Donatello would create such a figure whose nudity and poise suggest homo-eroticism as a feather from Goliath’s helmet winds up the side of David’s thigh (Harris).  This sparked controversy during the fifteenth-century as the church was very influential in society.  It continues to be discussed today along with the artist’s own sexuality.

With the provocative pose of a nude, adolescent boy, people today are less ashamed and self-conscious of this then-innovative art form.  Throughout the years, people have gradually accepted the beauty of the human body as it was reintroduced during the Renaissance.  Some may even go far enough to expose their body in public!   In Smarthistory, Dr. Beth Harris and Dr. Steven Zucker had expressed their modern views about Donatello’s David which can be generalized to the way it is viewed today.  Dr. Zucker expresses that “It feels so much more intimate and so much less public.”   He goes on to argue with Harris that instead of looking proud after his victory over Goliath, David instead looks thoughtful and contemplative as if coming to terms with the events that had just taken place.  He does not deny the fact he shows the slightest hint of pride, but more so of Donatello portraying a sort of increasing wisdom of the young boy.  Harris states that the relaxed contrapposto illustrates confidence holding onto the sword that beheads Goliath, especially with the head of the giant resting on the victory wreath.  These arguments are continuously debated on today.  However, we will never know what the artist portrays in such a beautiful, seductive piece of biblical artwork.

To me, I believe this artwork deserves attention, because of its innovative strive to question human sexuality as well as provide both learned and unlearned a look into the Christian teachings.  Two contradictory pieces had ultimately led to an effective piece of artwork that had and still captures the attention of artists today.  I believe it’s necessary for people to acknowledge the importance of such historical piece of art, especially since its beginnings date back to the Early Renaissance where we associate some of the greatest minds to have ever lived.

Donatello’s David is such an interesting sculpture that although started off private in the courtyard of a powerful family, has gained world-wide fame.  I believe that without the push of the Rebirth of Humanism and the passion for antiquity, much of today’s beliefs would still be as strict and expressions would be limited.  I believe that Donatello successfully broke away from the traditional view of the body full of sin, and thus has influenced many people during its time to express themselves in a new light.  I feel this statue would be essential for future generations to acknowledge the freely expressed views of a true artist.

As previously mentioned, Donatello’s David has been overshadowed by Michelangelo’s David built almost a century later.  It’s impossible to overlook Michelangelo’s David which is almost fifteen feet tall!      Unlike Donatello, Michelangelo had sculpted this biblical hero in marble and was meant to be placed in the Cathedral of Florence, rather than a private courtyard.  Of course, Donatello took the spotlight as his bronze David was the first free-standing nude since antiquity, but Michelangelo had been the first to sculpt the first free-standing nude figure in public!  Also unlike Donatello, Michelangelo illustrated David just moments before the fight with Goliath.  Instead Michelangelo presents us with an intensity and look into his quickly acquiring power before the battle (Statue).  Finnan suggested in his comparison of the Davids of Donatello, Verrochio and Michelangelo, that Michelangelo’s David was unusual, because it did not include the head of Goliath considering it was before the beheading.

One of the differences that should be acknowledged is the way each artist puts emphasis on his message.  Donatello, for instance, places beauty and sexuality at a higher level of importance as we can see in the well-known contrapposto of his David.  Michelangelo instead focuses more on the character traits of David as he includes his slingshot rather than the head of Goliath.  “The slingshot he carries over his shoulder is almost invisible, emphasizing that David’s victory was one of cleverness, not sheer force” (Bloem).  The physicality is less spotlighted and instead gives the audience a view of the mental state David is in before he engages with Goliath.

Despite his many differences, we can also find similarities in both Davids.  Of course we have the obvious similarities of the nudity and the contrapposto that both have portrayed and are easily apparent.  In addition to the obvious, just like much of what was brought out of the Renaissance, both sculptures were presented in Florence.  This indicates the influence of antiquity as it was revived during the Early Renaissance.  Both also show a sort of self-awareness, whether physical or mental.  This self-awareness indicates a realization of David’s strength to overcome the giant.

Considering its influences to other Davids as well as other various artists, Donatello’s David had visually expressed something more in his art rather than that of pure illustration.  His David had been used for political and religious teachings as well gaining the title of the symbol of the Republic of Florence.  Donatello’s David is beautiful and eccentric and should be saved for future generations, because its unique sexual capacity that evokes questions of the biblical hero to this day.  It will be beneficial for future generations to view the art as a piece of history that influenced much of what they see in art and in society today.
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<p style="text-align: center">Works Cited</p>
Bloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.

I used this to describe Michelangelo’s David to help me compare.

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"Donatello." <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.

I used this reference to describe the sculpture and introduce Donatello.

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Fiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.

I used this book to describe the historical context of the Early Renaissance.

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Finnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.

I used this to compare Michelangelo and Donatello’s Davids.

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Harris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.

I used this to talk about the views of then and now along with the biblical reference.

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“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.

&lt;http://www.statue.com/statue-of-david.html&gt;.

I also used this to compare Michelangelo’s David to Donatello’s.

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"The Early Renaissance in Italy." <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.

&lt;<span style="text-decoration: underline">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.

I used this reference to help me describe the historical context of the time period.

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