The statue, including its clothing, recalls the Hellenistic period of Greek sculpture, where older, non-athletic, and more emotional forms became in vogue, but were still depicted with a kind of elevated classicism and authority.
St. Mark's form is not characteristic of what might be called 20th century realism -- the old man is not wrinkled, and his body, although not as powerful as Michelangelo's David or ancient Greek statues of Olympic athletes and gods, is not withered or bent with infirmity. Mark represents spiritual and moral strength. The folds of his gown suggest his inverted hip position, but there is still elegance in the way he moves. This was radical during Donatello's day -- in contrast to the era immediately previous to the generation of this statue of St. Mark, human beings were often shown in fallen, twisted, and hideous ways, to indicate the morally bankrupt state of Man. In…...

Raphael / Michelangelo / Donatello
Raphael's School of Athens is considered a high point of humanism. e can understand this by considering some basic facts about the work: it is a fresco painting done on a wall in the Vatican, arguably the center of Christianity in the world, and yet it depicts a large number of figures, the vast majority of whom had never even heard the name "Jesus Christ." This is not to imply that humanism was somehow a pagan phenomenon (although various humanists ranging from Marsilio Ficino to Giordano Bruno did their best) but rather that one of the most salient effects of Renaissance humanism was the revival of classical learning and the rediscovery and publication of Greek and Latin texts. For example, Plato -- depicted centrally in Raphael's School of Athens, pointing his finger upward toward God and the heavens -- had gone mostly unread for centuries, and…...

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Works Cited

Soltes, Ori Z. "A World of Art, Lecture 19: Toward High Renaissance in Central Italy." Online video. YouTube, 28 February 2014. Web. Accessed at  https://www.youtube.com/watch?v=1IZ5m6rtqWI

As compared to Donatello and Michelangelo's representation of DAVID,
that of ernini is very different, due to being almost frozen in action
after slaying Goliath. Julie mentions that this sculpture is a combination
of the heroic and the romantic, an observation that is supported by the
fact that during the aroque period, circa 1623, "the pose and attitude of
sculptures like ernini's David were created to express the heroism of the
age and the ideals of romanticism which would come of age during the
Enlightenment" (de la Croix, 587).
Thus, it clear that these magnificent works of art symbolize the
relationship between man and his place in the natural world via "a new
search for forms capable of expressing the ideals of humanism and the role
of man in the universe" (de la Croix, 578).
ILIOGRAPHY
"David." Galleriaorghese. 2007. Internet. Retrieved from
http://www.galleriaborghese.it/
borghese/en/edavid.htm.

de la Croix, Horst. Gardner's Art Through the Ages. New York: Harcourt-…...

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BIBLIOGRAPHY

"David." GalleriaBorghese. 2007. Internet. Retrieved from

 

borghese/en/edavid.htm.http://www.galleriaborghese.it/ 

de la Croix, Horst. Gardner's Art Through the Ages. New York: Harcourt-

Brace-Jovanovich,

1975.

The rococo was aimed towards the French court and nobles. The main message was not a religious one, but aimed the upper classes and focused on their lives, houses and celebrations. In France this style gave way to the austere neoclassic style at the end of the xviii century and disappeared with the French revolution in 1978, suddenly and completely.
Neoclassicism appeared as a return to the classical ideology in art. It was designed to serve political interests as a form of propaganda, to portray the greatness of the government by copying the great style of the masters of the past. It was also a change in ideology as the royalty fell with the French revolution, as well as the aristocracy, two major clients that artists would no longer deal with. Color achieved a secondary importance and drawing became the main expressive key for paintings. Contrasting with the aroque style,…...

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Bibliography

Hauser, Arnold. Rococo, Classicism and Romanticism, New York: Routledge, 1999.

Honnef, Klaus and Schoneckenburger, Manfred. Art of the 20th century, Los Angeles: Taschen, 2000.

Hunt, Jocelyn. The Renaissance, New York: Routledge, 1999

Janson, Anthony. Basic History of Western Art, New Jersey: Prentice Hall, 2005.

David / Rembrandt
Michelangelo's David was commissioned as a public monument by the government of Florence. In this context we might be invited to imagine David as a symbol of Florence itself: the Tuscan city is tiny compared with Rome, and in Michelangelo's lifetime Florence was also much smaller than the closer Italian city of Venice. Although Florence is the larger city in the twenty-first century, this was not true in Michelangelo's day. The population of Florence was estimated at 37,000 in 1427 and 60,000 in 1552: while Venice had a population of 180,000 in 1490. (Sources: John Najemy, A History of Florence 1200-1575; J.J. Norich, A History of Venice.) In other words, the idea of a physically-unprepossessing hero favored by God to defeat a much larger enemy -- the story of David and Goliath -- might very well have appealed to Florentines as a civic symbol of themselves. Florence already…...

As a result, both works of art share this similarity, as they want to instill the audience with a sense of awe and respect for this person. (Stokstad, 2011)
When you step back and analyze both statues, it is clear that Donatello as well as Michael Angelo is trying to impress upon the audience a sense of: strength and respect for their statues. This is illustrated by the way they are using his physique, to underscore his physical strength and sexual prowess. However, both artists have different interpretations about what this character should look like. As far as Donatello is concerned, he is highlighting these momentous changes that are occurring (through a graphic depiction of the aftermath of the battle). Where, he shows David posed victoriously, with his foot on top of Goliath' severed head. This is important, because Donatello is trying to instill in the audience a sense of…...

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Bibliography

Donatello's David. (n.d.). Oneonta. Retrieved from:  http://employees.oneonta.edu/farberas/arth/arth213/donatello_david.html 

Michael Angelo's David. (n.d.). Italy Guides. Retrieved from:  http://www.italyguides.it/us/florence/michelangelo_david.htm 

Stokstad, M. (2011). Art History. Upper Saddle River, NJ: Pearson Education

Renaissance Art
hen discussing with regard to the Old Testament figure of David and to how he was represented during the Renaissance, one would have to consider the current as a whole in order to gain a more complex understanding of why artists directed their attention toward the character. Artists during the Renaissance were determined to restructure social values for the masses to be able to acknowledge the significance of classical values. David had been a symbol of the classical era and artists in the Renaissance wanted to create works that glorified both him and the idea of the natural man in general.

It was probably David's legendary character that influenced artists to express particular interest in wanting to portray him. By looking at how each artist depicted him, one can understand the cultural elements that inspired these respective artists. All things considered, it would be safe to say that particular artists…...

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Works cited:

Crispino, Enrico. Michelangelo. (Giunti Editore, 2001)

Cunningham, Lawrence, Reich, John, & Fichner-Rathus, Lois. Culture and Values: A Survey of the Western Humanities, Volume 1.( Cengage Learning, 1 Jan 2014)

"3 Davids, 3 Theologies: Donatello, Michelangelo and Bernini," Retrieved July 6, 2014, from  http://thefineartdiner.blogspot.ie/2011/06/3-davids-3-theologies-donatello.html 

"David," Retrieved July 6, 2014, from http://www.artble.com/artists/donatello/sculpture/david

Art (History Art ages) Discussion question 1 page long follow directions carefully youtube lectures provided
There is no denying the fact that one of the hallmarks of embrandt's works of art is his copious usage of elements of light, dark and shadow to great effect. This sort of tenebrism is deployed by the artist initially to give a sense of contrast to his works. Light and dark are antipodes of one another, and by involving both of these elements the painter was able to create striking counterpoints within his works of art. This fact is seen quite prominently in his self-portrait circa 1629. Not only does the artist use both light and dark elements to illustrate his face and the brimming future which he saw in front of himself as an artist, but this portrait is also characterized by loose brushwork which is distinct from the crisp strokes of the…...

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References

Soltes, O. (2011). "Shadow and light from Rome to the lowlands." www.youtube.com. Retrieved from  https://www.youtube.com/watch?v=VeUdxzqslQ0

Question 2: Which of the Davids could Americans adopt as symbolic of the time in which we are currently living -- and why?

Bernini's "David" is a man of action, not a static ideal. Bernini demonstrates why the Biblical figure of David is a hero and a future king of consequence. Michelangelo's beautiful "David" clutches the sling half-heartedly, and seems to justify his reputation through his youth and physical gifts, not his activity or struggle. His muscles are strong, but for what purpose? Young people must not justify their future reputations through beauty -- or fine clothes, like Donatello's "David." Bernini's "David" is willing to take risks, and willing to act. He does not think of himself, or admire his musculature or clothes, he thinks only of exercising leadership and slaying Goliath. This is the man we require today in America, this David. Young people may act more like Donatello's "David,"…...

Many people today still have trouble interpreting and understanding some of his works, thus proving that his thinking was way ahead of his time. Da Vinci's works are probably among the most parodied ideas that have ever existed, as a series of individuals reproduced them and introduced diverse concepts in an attempt to put across certain messages.
Michelangelo Buonarroti is yet another Florentine who changed the world as a result of his brilliance. Although people tend to consider that da Vinci was much more impressive because of his lavishness and because his works are more extravagant, Michelangelo is actually comparable to him when considered the wide range of fields in which he excelled. In contrast to other artists contemporary to him, he experienced much suffering and he was forced to perform many of works without actually having time to appreciate life to the fullest. Even with this, he focused on…...

David
Notable religious events and figures often serve as the inspiration and subject matter for great works of art across human history and across every culture. Events and notable figures from the Judeo-Christian Bible have inspired a great many of some of the most famous works of art in the Western world. Within the Bible, there are two primary sections: the Old Testament and the New Testament.

One of the many significant figures of the Old Testament is the man David, who was a simple boy who herded sheep, who ultimately led his people and others to triumph over a tyrant warrior, Goliath. David was a young man, armed with a slingshot and brought the vicious leader down. David was quite a popular figure artists depicted during the enaissance era in the arts, particularly in the area of sculpture. There are three most notable sculptures created in Florence during the enaissance…...

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References:

Boston College. "Renaissance Sculpture." 2012, Web, Available from:   2012 September 24.http://www.bc.edu/bc_org/avp/cas/fnart/art/ren_italy/ren_sculpture01.html .

Essential Humanities. "Renaissance Sculpture." 2012, Web, Available from:   2012 September 24.http://www.essential-humanities.net/western-art/western-sculpture/renaissance-sculpture/ .

History World. "History of Sculpture." 2012, Web, Available from:   2012 September 24.http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=fch .

Italian Renaissance-Art.com. "The most famous statue in the world?" 2012, Web, Available from:   2012 September 23.http://www.italian-renaissance-art.com/Michelangelo-David.html .

art period's styles represent a theme art. Your comparison focus artists period styles. The pair choose drawn period styles. For essay, I compare a High Classical Greek artwork Early Italian Renaissance artwork.
The Artemision ronze vs. Donatello's bronze David

While most people are inclined to look at the Italia Renaissance as being innovative and as bringing new concepts to society, the artistic movement actually inspired from Ancient Greece. y looking at the Early Renaissance period and at the Classical Greek artistic movement one is likely to observe a series of parallels, as the more recent artists did not hesitate to inspire themselves from individuals that they considered to be particularly refined in producing artwork. To a certain degree, one can consider the two movements to have had a similar effect in individuals living contemporary to them, considering that they both brought on artistic revolutions. The Artemision ronze and Donatello's bronze statue…...

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Bibliography:

Kleiner, Fred S. "Gardner's Art Through the Ages: The Western Perspective," (Cengage Learning, 2009)

Mattusch, Carol C. "Greek Bronze Statuary: From the Beginnings Through the Fifth Century B.C.," (Cornell University Press, 1988)

Shaked, Guy, "Masters of Italian Sculpture," (Lulu.com, 2007)

"Donatello's David," Retrieved May 11, 2012, from the Suny Oneonta Website:  http://employees.oneonta.edu/farberas/arth/arth213/donatello_david.html

He is one of the few artists that were recognized for his work while he was still living.
One of Michelangelo's most exquisite pieces is Pieta. In this sculpture, we can see how Michelangelo was moving away from the traditional form of sculpting. Creighton Gilbert notes that how Mary and Jesus are depicted in the statue is not typical of Michelangelo's day. Mary is seated with the dead Jesus in her lap and this image "first emerged as an abbreviation of the scene of Christ mourned" (160). Harold Keller maintains that the piece is filled with contrasts, horizontally and vertically. e also have the opposites of the clothed and the naked. The position of Jesus' body is different from most pietas of the day in that it is horizontal, producing a "step-like composition based on the sharp right able between the corpse and the upper body of the Madonna towering…...

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Works Cited

Barzun, Jacques. From Dawn to Decadence. New York: Harper Collins Publications. 2000.

Gilbert, Creighton. History of Renaissance Art. New York: Prentice-Hall, Inc. 1973.

Keller, Harold. The High Renaissance in Italy. NY: Harry N. Abrams, Inc. Publishers. 1969.

Lace, William. Michelangelo. San Diego: Lucent Books. 1993.

One the right is a statue of Athena, god of wisdom, light, and the city. On the left is Apollo, sun god, holding a lyre. Arching over the top of the painting is a great, wide semi-circle in a space resembling a basilica annex.
Philosophy in the Middle Ages was obsessed with the analytical procedures of Aristotle, whose treatises on many subjects generally worked inductively, determining truth from other truths. A feature of the high Renaissance was the shift towards Platonic thought, but also a continued influence by papal authority. In The School of Athens, Raphael has drawn a portrait of classical philosophy but sanctified it by putting theists and atheists alike in a religious setting.

Thematically, The School of Athens presents Renaissance Humanism, linking the Athenian scene of people together in a fluid, personal picture. The personalities of each philosopher mix in a jumble of activity and motion. Whereas classical…...

Charles Van Doren has concluded that the Copernican Revolution is actually the Galilean Revolution because of the scale of change introduced by Galileo's work.
The technological innovation of the Renaissance era started with the invention of the printing press (the Renaissance). Even though the printing press, a mechanical device for printing multiple copies of a text on sheets of paper, was first invented in China, it was reinvented in the West by a German goldsmith and eventual printer, Johann Gutenberg, in the 1450s. Before Gutenberg's invention, each part of metal type for printing presses had to be individually engraved by hand. Gutenberg developed molds that permitted for the mass production of individual pieces of metal type. This permitted a widespread use of movable type, where each character is a separate block, in mirror image, and these blocks are assembled into a frame to form text. Because of his molds, a…...