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Michelangelo's david analysis
Michelangelo's david analysis
Michelangelo's david analysis
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The human body, especially the nude male figure, has been a subject of art since the first scratching appeared on cave walls. Stick figures with phalluses denoted the male, procreation and dominance. Archeologists have found evidences proving that the male nude appeared in Egypt in the early Dynastic periods and in early Mesopotamia four thousand years ago.
The Greek made the nude into art, and we, the Americans, made it into something commonly referred to as pornography. Until today, nude is still a major subject in art that everyone would have seen a few times, either in display cases of a museum or in greater numbers of male underwear ads. Myself being a boy of the old capital of Vietnam, I grew up with such statues in the décor of my living environment. I still remember that my family owed some of them, which my grandmom called antiques. She handled them with great care, and never allowed us to come near them. Since the time I developed some interest in art, I looked at these white marble pieces each time I went home, and I recognized their personality as well as their great significances in our human revolution.
In this essay, I would like to discuss the images of men in European art thoughout three examples: Apollo, Michelangelo's David, and Bernini's David. First we need to understand: what is the origin of the Greek nude? The nude was first locked into the tradition of high culture - as a symbol of high art, kings and notables had themselves sculpted naked. However there are differences between male and female nudes. "Men act and women appear. Men look at women. Women watch themselves being look at. This determines not only most relations between men and women in themselves" (Berger 373).
I agree with Berger...
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...he stone between Goliath's eyes. Lying on the ground is the armor he chose not to wear since it is not suit him. However, in Bernini's creation you find an aspect that is different from the Biblical description; there is a harp lying at David's feet. It is symbolizing David's artistic talents as a musician, even though he chose to volunteer to fight Goliath to free his country.
Today, the nude is still a major subject of art. And the male figure still brings beautiful ideas to artist. However, it can be pleasing. It can be porn. It is up to our our imagination, our expression and our desires.
Works Cited.
Berger, John. "Images of Women In European Art." Motives for Writing: Robert Keith Miller. Bostoni McGraw Hill 2002. 373-90
Brodo, Susan. "Beaty (Re)Discovers The Male Body." Motives for Writing: Robert Keith Miller. Bostoni McGraw Hill 2002. 392-409
Around the time 530 bce a statue was carved out of marble and given the name Anavyos Kouros. It represents a male figure completely nude. It is a sculpture in the round and stands a height of six foot four inches. Starting from the top we see the man's head. His hair looks odd to that of a normal human, it does not look like it belongs on his head. Looking at his facial structure his eyes are large similar to art of ancient Egypt. His nose, lips, cheeks, and ears are well defined and proportional. His body is muscular and he looks to be in great shape. The sculptor who made this paid close
sculpture of Dionysos, it tells us about a little bit of culture. The unclothed Dionysos indicate a common
The Statue of a kouros depicts a Greek man in the nude. Although he looks like a man, the large scale, and the miss proportioned features makes it unnaturalistic. The toes are too long, the genetalia is unrealistically small, and the joint lines are exaggerated.
Anticipated similarities exist between the Roman copy of Doryphorus and Donatello’s David, for the former replicates a product of Classical Greece while the latter is reminiscent of this artistic epoch (The Renaissance was a “re-birth” of this classical form). However, though formal qualities of Classical Greece may be present in David, they are uncharacteristically fashioned; therefore, major degrees of difference are established in terms of characterization. While Doryphorus is a typical example of reconciling idealism and naturalism, Polykleitos does not provide a depth of narrative subtext to this figure. On the other hand, Donatello overtly characterizes David through his effeminate if not androgynous form to deliver a powerful narrative (Duro). From the stance and posture of each sculpture to the use of nudity, Polykleitos’s Doryphorus and Donatello’s David present similarities accountable for in a historical context; however, the obvious structural differences must be
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
The existence of pornography is not a new invention. For years, humans have found certain depictions to be sexually arousing. Holmes and Holmes (2009), for example discuss how in ancient civilizations, Mesopotamia, for example, there were depictions of men and women in sexually explicit scenes on various household goods, such as plates and washbasi...
Ca.630 BCE. Limestone. This is a women freestanding statue in Greek art. Both of these two statues are youth sculpture and freestanding which are the naturalistically and not stocky. They do not have muscles and a strong body, I can only see they are being the lean body types. As the female statue, her feet are standing on the same level, but the male one is not. She is putting her right hand on her chest and wearing clothes to wrap her slim body. Thus, the Greek art only has little bit impact by Egyptians. Portraying nude men can be accepted, but for women it is not.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
Even today, despite much debate, we live in a patriarchal society—we live in a world ruled by men and their thoughts, feelings and ideals. Women are a large part of a man’s life, and there are standards and inferences made about them. Berger explains man’s view of its counterpart through art. The earliest depiction of nudity is in art surrounds the biblical story of Adam and Eve. In the tale, Eve is pictured as a temptress and because of her rebellion against God; she is a lesser being. This is what kicked off the prejudice against the female race. The discrimination reflected in society by the roles women are given in the world. They are objects owned by men. Women are expected to clean, bake, cook and please their men in anyway possible. They do not hold jobs; their job is to obey and dote on their husbands. Women are passive members in art, so they become ...
He discusses that Roman statues appear greatly similar to those of Ancient Greece, both in material and in style. The statues both from Greece and Roman Republic were made from slabs of marble and bronze. In both cultures, portraits were used as expressions of honor to both the living and the dead. They were often used in funerary spaces and sanctuaries. Stewart supports the same principle that the other critics have stated, that portraits and statues were used primarily by the wealthy and elite members of the republic. They decorated the public spaces of the people, as a reminder of leadership within the community and as a way to honor the authority’s power. Imperial portraits were used as a symbol of devotion and established the presence of a powerful empire, bringing the devotion towards the emperor
Bernini’s “David” is 5 foot, 7 inches tall and was made in the year 1623. It is from the Baroque period, a time of discovery, exploration and increased trade. Bernini’s “David” is a three-dimensional sculpture that gives the viewer the ability to relate the image with one’s body and not only in one’s mind. Bernini wanted to show the intensity and dramatic tension in the hero David as he prepares to cast the stone from the sling. In contrast to the intensity of Bernini’s David, Michelangelo’s “David” looks much more contemplative, statuesque and less “life-like” than Bernini’s. This marble sculpture, unlike Michelang...
The primary focus of ancient Greek sculptures was that of the human body. Almost all Greek sculptures are of nude subjects. As the first society to focus on nude subjects, Greek sculptors attempted to "depict man in what they believed was the image of the gods and so would come to celebrate the body by striving for verisimilitude or true – likeness (realism and naturalism!)."(Riffert) Not only did the Greeks celebrate the human form in their art but also in everyday life. (Riffert) One of the favorite topics for sculptors was that of the athlete. In Greek culture athletes were described as "hero–athletes". (Riffert) This shows that athletes were revered and looked upon as heroes. The influence of athleticism is evident in many famous sculptures. I will attempt to show how the human form influenced Greek art. It is important to note that many of the Greek sculptures discussed do not exist in their original form but rather in Roman copies of the original bronze sculptures. (Riffert)
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
Images that eroticism is implied tend to represent the availability of the women’s bodies, in the implication that they are objects of eroticism (Sturken and Cartwright 2009: 116), consequently affecting the way society views women such as illustrated in Figure