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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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David
Work_PrefTitle
David
Preferred Title
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Image View:
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Overall three-quarter view, looking up from left side
Image_Title
Overall three-quarter view, looking up from left side
Image View
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Creator:
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Michelangelo Buonarroti (Italian sculptor, 1475-1564)
Agent_Display
Michelangelo Buonarroti (Italian sculptor, 1475-1564)
Creator
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Location:
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repository: Galleria dell'Accademia (Florence, Tuscany, Italy)
Work_Location_Type_D isplay
repository: Galleria dell'Accademia (Florence, Tuscany, Italy)
Location
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Location Note:
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58-60 via Ricasoli
Work_LocationNotes
58-60 via Ricasoli
Location Note
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GPS:
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43.77694 11.25873
GPS
43.77694 11.25873
GPS
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Date:
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1501-1504 (creation); restored 2003-2004 (restoration)
Work_DateDisplay
1501-1504 (creation); restored 2003-2004 (restoration)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
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Work Type 1:
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sculpture (visual work)
Work_Worktype1
sculpture (visual work)
Work Type 1
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Classification:
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sculpture
Work_Classification
sculpture
Classification
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Material:
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Carrara marble
Work_MaterialDisplay
Carrara marble
Material
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Technique:
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carving (processes)
Work_Technique
carving (processes)
Technique
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Measurements:
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17 ft (height, without base)
Work_MeasurementDisp lay
17 ft (height, without base)
Measurements
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Description:
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The marble block used for the David had been roughed out and abandoned by Agostino del Duccio and Michelangelo was thus required to work within predetermined constraints. Some peculiarities of the work, such as the relative shallowness of the lateral views of the figure, may be due to the existing shape of the marble; Vasari claimed that the splayed legs were determined by earlier piercing of the block. The work's significance does not lie in its technical ingenuity, however. The David is the first of Michelangelo's surviving depictions of the heroic male nude in which the entire emotional charge is carried by the articulation and twist of the body and limbs against the head. Stripped of all attributes but the minimal sling, this David carries no sword, and not even the head of Goliath distracts from his stark nudity. [To protect it from damage, the sculpture was moved in 1873 to the Accademia in Florence. A replica was placed in the original location in the Piazza della Signoria in 1910.] (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The marble block used for the David had been roughed out and abandoned by Agostino del Duccio and Michelangelo was thus required to work within predetermined constraints. Some peculiarities of the work, such as the relative shallowness of the lateral views of the figure, may be due to the existing shape of the marble; Vasari claimed that the splayed legs were determined by earlier piercing of the block. The work's significance does not lie in its technical ingenuity, however. The David is the first of Michelangelo's surviving depictions of the heroic male nude in which the entire emotional charge is carried by the articulation and twist of the body and limbs against the head. Stripped of all attributes but the minimal sling, this David carries no sword, and not even the head of Goliath distracts from his stark nudity. [To protect it from damage, the sculpture was moved in 1873 to the Accademia in Florence. A replica was placed in the original location in the Piazza della Signoria in 1910.] (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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1A1-MB-D2-C01
Image_OriginalVendor ID
1A1-MB-D2-C01
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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