Post 7: Baroque Art- Comparison of Michelangelo’s and Bernini’s David
Michelangelo was obviously echoing Classical sculpture in his representation of David (1501-1504) and following the Renaissance ideal of humanism in that his human potential is realized in his heroism. David is so close to the Classical model that he could have represented a Roman god if he was made in ancient times. His David stands contrapposto with the natural weight shift of a human body standing at rest on one leg, the other knee bent and one shoulder slightly higher than the other. David wears the inwardly focused expression of one contemplating a great deed, perhaps a feat beyond his strength, and yet one he is determined to perform. He is not emotionless but he is reserved and composed. The figure shows the idealized form of a young man yet David’s proportions are realistically sculpted except for his overlarge hands as this sculpture was meant to be seen from a greater distance than the close quarters where it ended up being displayed. The balanced figure shows the ideal visual harmony valued both in the Renaissance and in classical times. This sculpture was so beloved by the Florentines that they couldn’t stand to put it atop the pediment of the cathedral that it had been intended to grace and was kept at a street level for better viewing.
Bernini’s David shows all the drama that makes the Baroque era a favorite with art lovers. His David’s stance is twisted- caught in mid aim and stepping forward into the space of the viewer. It might be said he is in a very exaggerated contrapposto stance. The Renaissance and Classical proportions are still there in the naturalism, and the humanism is evident in a subject who will be victorious in spite of overwhelming odds. The visual harmony of this piece is in the twisted composition that makes the viewer want to proceed around the piece instead of looking at it from a strictly frontal view. (It could be said that the drama is in conflict with the visual harmony of the piece, or that the drama adds to it, as a matter of opinion.) The figure is caught in motion and makes the viewer want to move as well. Bernini’s David displays the determined expression of one aiming at a target, lips compressed as if he’s biting them. He appears to be a mature male with a less than ideal pose and expression which adds to the realism while it lessens the idealism portrayed. The sculpture as a whole shows the balanced tension of a weapon aimed and about to let fly.
It’s interesting to compare these two directly. Michelangelo’s David was considered to show the emotion of a young man who was preparing for battle and these feelings do show when compared to Medieval and Early Renaissance works- yet in comparison to Bernini’s David he seems emotionless and reserved. The beautiful, ideal male body is more on display in Michelangelo’s piece; in Bernini’s work the body is somewhat obscured by the “chance” loincloth, the strap and bag for the sling stones and the twisted pose which also hides the body. Of course the most striking difference is the Renaissance/Classical reserve compared the drama of the Baroque. Here we have an argument of drama versus Classical composure in the comparison of these works- as later on the Rubenistes and Poussinistes will debate color and composition. Both approaches have appeal and it isn’t really possible to deem the one as more important than the other. Bernini’s sculpture is more complex and invites a longer, and even second and third view to appreciate the details. This David commands attention no matter where he’s placed. Michelangelo’s work seems simpler and quieter and may be better to contemplate when we’re in a serene mood or want to reach serenity- a better companion in a quiet place.
I like the title for your post! I can see what you are saying about the "exaggerated contrapposto," but I think that that Bernini's stance is a little too wide (and the weight is obviously distributed on both legs, instead of just one). That being said, I can see where you are coming from. And I do like thinking about how Baroque art takes some Renaissance subject matter to an extreme.
ReplyDelete-Prof. Bowen
I didn't know that Michelangelo's David was supposed to be seen from a distance...I must have missed that somewhere. That's an interesting thought though because I too noticed that his hand were rather large in proportion to his body.
ReplyDeleteOne of the main things that I enjoyed about the two sculptures is somthing you also touched on, the bisual unity. While it seems a bit absent in Michealangelo's piece it is obviouse in Bernini's.
ReplyDeleteThe way the body is twisted makes it seem so much more three dimensional and gives it so much more gravity. It invites the viewer to walk around the sculpture rather then just face it head on. Well done.