Michelangelo, David, 1501-1504, marble 517cm x199cm (Galleria dell’Accademia, Florence Italy)
Gian Lorenzo Bernini, David, 1623-24, marble, 170 cm (Galleria Borghese, Rome) (photo: Salvador Fornell CC BY-NC-ND 2.0)
In the images above we see the story of David told by two artists more than a hundred years between. While the message stays the same, the political landscape changes. What sets these two sculptures apart from one another is their ability to tell the story while speaking to the era in which they were made. Michelangelo follows the classical structure that was popular during the high renaissance while Bernini uses baroque formulas that emerged during his time.
Michelangelo was working as an artist during a time of classical revival. After his success with the Pieta sculpture, he was commissioned to carve the statue of David for the Cathedral of Florence. It was originally to be placed more than 40ft above street level onto one of the buttresses which is why it is so large. It, however, ended up being placed in the town square outside a government building because it was so heavy. Michelangelo's statue encompassed the ideal form often seen in the elder Greek/Roman sculptures. His use of contrapposto spotlights David’s superhuman beauty where the viewer can see the idealized musculature. This statue is composed in a restful position where the energy is building, but has yet to achieve its climax. We are seeing a snapshot of the figure right before he sets to work on the enemy who may be perceived as the recently ousted ruling family of the Medici, or even the extremest priest, Savonarola. Savonarola preached against the “vanities” and tried reforming the church, but was eventually executed. Michelangelo's David became a symbol of strength for the city of Florence. (1)
Bernini was working during a time when artists were engaging the viewer in a more active way. He wanted the audience to feel the energy and emotions of the subject and he did this by sculpting a less ideal figure that the viewer could relate to. He also pulled the audience into the sculpture by using diagonal lines that would engage the viewer. During the high Renaissance, when Michelangelo was working, artists often used the pyramid structure to build their compositions. It was a strong foundation that reflected stability. The Baroque artists, like Bernini, deviated from this structure and began using diagonals to make the composition more active. The idea was that the more relatable the art became, then the more the church would be able to affirm and strengthen the beliefs of its populous. This was important during the baroque period because it was a tumultuous time for the church. Bernini’s sculpture of David is a successful example of Baroque era techniques in that the action is unavoidable and engaging. (2)
These two sculptures are a good representation of the evolving nature of the Catholic Church and its influence on the people. When Michelangelo was sculpting his version of David the Church was strong, influential, and easily defeated its challengers. It was something to look upon with awe and reverence, much as Michelangelo’s sculpture of David, but by the Baroque period that foundation was beginning to crack. The Protestants would not be going away and the Church had to learn to live with the split. It responded by utilizing the now popular baroque style to emotionally engage their audience in the biblical stories. This is important because the once stoically distant Church authority is now actively inviting the viewer in. Art can be a powerful emotional guide, and the Catholic Church used that to their advantage.
Sources
1. Dr. Steven Zucker and Dr. Beth Harris, "Michelangelo, David," in Smarthistory, December 6, 2020, accessed January 28, 2021, https://smarthistory.org/michelangelo-david/.
2. Dr. Beth Harris and Dr. Steven Zucker, "Gian Lorenzo Bernini, David," in Smarthistory, July 12, 2015, accessed January 28, 2021, https://smarthistory.org/bernini-david-2/.
