Sculptures

<http://inadvertentlyart.blog
spot.ca/2009/11/donatello
-took-risks.html>

<http://arthistoryoftheday.wordpress.com
/2011/08/13/gianlorenzo-bernini-david-1623/>

During the last Art & Aesthetics class, we discussed sculptures or 3D art. We went over what the dimensionality of sculptures can be, for example free-standing, relief, or linear; and sculpture techniques such as reduction, construction/assembled, and casting. 3D art is a form of art that takes the form of whatever it represents, ranging from non-objective to life-like, and is something that can be less personal and more public. Sculptures can stimulate sense; touch, size, dynamics, color/age, lighting/environment, etc.
The discussion topic for this blog post is: The Renaissance and the age of Baroque has produced many remarkable statues of David. Contrast and compare Donatello's David with Bernini's David with regard to style, technique, the physical attributes of each, and the moment chosen for depiction. In your discussion, indicate how Bernini's version illustrates developments of the Baroque era.
Donatello's David was created between the 1420's and 1460's as a free-standing bronze casting sculpture. Donatello managed to soften David's static balance and firm stance through the relaxed placement of the hands and foot that gently rests on Goliath's head. The skin is highly polished and is set off by the roughness of the boots and hair. The scene depicted is a relaxed David as a boy who has just been engaged in mortal combat and cut off the head of Goliath.
Bernini's David was created in 1623 in marble. Bernini used the dynamic charge of the spiral to construct his David, the feet planted widely apart and the torso twisting. The upper part of the body is shown as being twisted and strained, full of tension as David is ready to release the stone. All of the strain and emotion is shown through the very Biblical depiction of the shepherd boy. The scene depicted is the second before David has released the stone that will slay Goliath, a moment during the combat.
Bernini's version of David illustrates the developments of the Baroque era through its composition in diagonal lines which suggests movement, energy and drama. The Baroque era felt the need to engage a form of sympathy or feeling within the viewer through the art piece, to connect with them. This related to the Church during the time which felt as though it needed to appeal very directly to the faithful.