Sculpture - AP Art History

There are a number of controversies surrounding the work, not the least of which is the homoerotic undertones one can see in David's pose, in his face and his open and inviting demeanor. Historians have argued that Donatello was himself gay and this was a representation of that sexual preference. Others say he was commenting on the homosocial Italian society, which condemned but still widely practiced sodomy. Many, though, believe Donatello was simply a pioneer of form.

In the bible, Goliath is the giant from Gath. He is also, though, the representation of Paganism, especially in the Old Testament. He is withholding the throne from the true king, David, anointed by God. He is meant to represent the end of Pagan culture and rule, suffering at the hands of Christianity and Judaism and the prevalence of those cultures.

While Donatello has carved this figure nude, and donned him with a hat and a sword, it is his pose that is most striking. He is sensual and almost womanlike in his pose, inviting and soft. This is so emphasized because Donatello doesn't know where to draw the line between Gothic s-curved nonsexual figures and the sexual and manly figures of the Classical era.

The answer is Da Vinci. Donatello was dead when this sculpture was made, while Michelangelo, Titian, and Raphael were born either during or after it was being created.

Work is in the public domain, accessed through WikiArt: http://www.wikiart.org/en/andrea-del-verrocchio/david-1475

While all of these were influential, wealthy families around the time of the Renaissance, the famous Medici family commissioned this sculpture along with countless other enduring works of art.

Work is in the public domain, accessed through WikiArt: http://www.wikiart.org/en/andrea-del-verrocchio/david-1475

This work is Donatello's David. It predates the Davids of both Michelangelo as well as Bernini. Donatello was known among his colleagues for his freestanding work, and had in fact created a freestanding marble version of David that predates even this one. That David, though, was not nude where this one clearly is.

This sculpture is a depiction of David, the young man who defeated the Giant Goliath in the First Testament story of the bible. He can be identified by his youthful appearance (David was one of the only youths being depicted at the time, apart from the baby Jesus). He can also be identified through his pose, where he stands atop the severed head of the giant Goliath, as the victor in their battle.

As is traditional, Donatello's statue is made of bronze, after the practice of Classical Greece. Though marble is a more popular medium later (it is cheaper and its whiteness appealed to the Renaissance masters), the freestanding bronze works are a testament to the renewed interest in Classical works.

Sculptures by Donatello (ca. 1386–1466) often feature a spiraling "figura serpentinata"composition style that entices the viewer to move around the piece to view it from every angle. Sculptors who came after him often used this technique, and it could be said that he introduced it.

"Contrappusto" (meaning counterpose in Italian) is the term used to describe a posture in which the figure's weight is shifted to one foot, causing the shoulders and hips to twist off the body's central axis so they are no longer parallel, as seen in David. It was introduced in Classical Greek art and rediscovered in the Renaissance.

At first glance, Psyche Revived By Love's Kiss resembles an Ancient Greek sculpture from the Hellenistic period. Given that this sculpture was completed in 1787 - firmly in the 18th century, we must concede that it is neither Ancient Greek nor Ancient Roman. This sculpture is, in fact, an example of Neoclassical sculpture. Neoclassicism as an artistic style was inspired by Ancient Greek and Ancient Roman art and architecture. This style of sculpture is still being produced today.

Romanticism and Neoclassicism were both very popular styles during the 19th century. They also shared certain characteristics. Many Neoclassical sculptures, for example, were dynamic and full of drama and emotion, such as Psyche Revived by Love's Kiss. Romanticism is known for its drama, dynamism and the sheer emotion of its compositions, though it is fair to say that emotion was seen as an essential part of Romanticism, whereas it was more of an additional feature to Neoclassicism.

Equestrian statues, even when life-size, created a portrait of their subjects on massive scales. While commonplace in Rome, they were hardly made after the fall of Rome until the Renaissance, and in the age of absolutism in the seventeenth century, they were made all across Europe to commemorate and celebrate monarchs. These statues made the monarchs depicted in them appear intimidating, grandiose, and worthy of their position as absolute monarchs.

The work shown here is a sarcophagus, an earthenware box built to contain human remains. The Sarcophagus of the Spouses was an Etruscan funerary monument, built to depict the married couple whose cremated remains were forever placed together in the work of art. The Etruscan sculptural tradition was highly influential on Roman sculpture, particularly portraits to honor the deceased.

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The Dying Gaul is a statue from the third century BCE and is among the most famous pieces of Roman artwork. The statue is remarkable for its tension and lines in the prone figure, who is slouching into repose from his wounds. Additionally, the face conveys an astonishing amount of pathos and misery, while also showing a perfect form in the figure's body.

The Dying Gaul is a statue most likely originally cast around 200 BCE by a Greek king to commemorate his victory over the Galatians, a Celtic tribe living in modern day Turkey. The sculpture is remarkable for showing the bravery and humanity of the subject, who is marked as Galatian thanks to his haircut and necklace. The Dying Gaul that has survived is a Roman copy of the Greek original that is currently held in the Capitoline Museums in Rome.

"Encaustic" painting uses hot wax and pigment. It was commonly used for both panel paintings and painting stone sculpture.

David is the first instance in which there is a genuine blending of the Christian faith and the styles and forms of Classical figural art. Here is the first time that biblical figures are represented in the styles of the Classical masters. Yes, he is not the freestanding nudes we recognize- the Boxer, the Discus Thrower, those trim and muscled figures. David clings to the vestiges of Gothic figures, but he is nude and freestanding and has paved the way for more of his kind.

Donatello had a clear interest in the human form. Many believed when he unveiled the piece that it had to have been done in life, it was so true to form. He also, though, was the first of his kind to use bronze in a freestanding nude (this hasn't been done since the Classical era). He is finally making a statement of Italian society, and the importance of blending Christian art and modernizing life.