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Donatello’s David email: rhainangel@hotmail. ... An exception is the
bronze, David, dated 1425-1430. David strays from the traditional style of
Donatello with reference to style, form, and medium. ... Straying from his earlier classical works, Donatello’s
breakthrough David exemplifies his ability to cast bronze into a beautiful,
yet clearly non-traditional formAt a glance, the sculpture has a fairly
simple description. The youth figure, David, is proportioned as a boy of
fifteen might be. ... David, an exception
to his previous work, would be completely naked if not for his boots and hat. ... A broad brim garlanded with
bay leaves, the hat throws David’s face into a deep shadow and seems to
suggest the simple life of a shepherd. The whole pose of David is inert, tame
and non-threatening, despite the severed head beneath his left foot. David
himself seems to be modeled after a boy who developed his stomach more than
his muscles (Grassi 72). Even though David has been captured after the act of
slaying Goliath, visually he seems barely strong enough to lift the sword at
his side. ... David
stands on a circular garland with one foot on Goliath’s helmeted, severed
head. ... Some scholars speculate
that Donatello’s composition of David influenced Ghiberti’s statuette of
Samson, as they both have the same lithe body stance and similar leg
positioning (Janson 87). "Donatello’s David is a sculpture whose figure is so
natural in its vivacity, and in the softness of the flesh, that is seems to be
the artificers as though it must be cast from life (Cruttwell 84). During the
Italian Renaissance, Donatello was considered more of a modern artist, but his
David has a very classical style.
Approximate Word count = 1361
Approximate Pages = 5.4
(250 words per page double spaced)
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