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Renaissance Arts and the Three David's

 

The synthesis of pagan elements with a Christian theme is evident throughout this sculpture. In the scriptural tale of David and Goliath, Goliath was a pagan and David was of the Jewish faith; therefore, Donatello is demonstrating both continuity and transformation with this victorious hero by borrowing and reinvisioning the past as he recounts the tale. .
             In the late 14th century, the revitalization of ancient thought continued to influence the artists of the Renaissance. The Italian artists developed new perspective and achieved naturalism as they created works of art that synthesized ancient content with contemporary form. Goldsmith, artist, and sculpture, Andrea del Verrocchio (c. 1435-1488) was focused on physiological verisimilitude in his art. Between 1473-45, Verrocchio like Donatello created a small bronze David (c. 1475) statue. Verrocchio likely viewed Donatello's version yet he transforms David into a considerably younger shorter youth and is modestly clothed. He demonstrates his goldsmith skill in the deliberate interpretation of various textures on the surface, the veins on his hand with the sword firmly in his grasp. Unlike Donatello, this David does not have headgear nor is his foot on Goliath's head, but behind it. His hair is short wavy curls and his facial expression is similar to that of Donatello's version; still, here he appears poised and serene as though he is older than his years. His contrapposto stance almost mirrors Donatello's with his right elbow bent and lying along his waist with his left arm holding his sword downward "encompassing his pride" (Soltes, L 19, 19:45). According to Soltes, Verrocchio created dynamism like Donatello's David in his handling of symmetria and contrapposto as he exhibits challenging pride of what he accomplished in the slaying of Goliath, whereas Donatello's version seems oblivious (Soltes, L 19, 21:05).
             In the 16th century, Michelangelo (c.


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