BAROQUE ART

Baroque Art

Baroque Art

Introduction

When I first started matching the two distinct figurines of David, Bernini's Baroque "David, and "Michelangelo's Renaissance "David" the first thing that came to my vigilance was the facial features. As you study the face of Michelangelo's "David" there is a sense of calmness to it. There is little or no strong feeling depicted in his face whatsoever. Here is a man, prepared to face a monster with not anything more than a sling, a pebble, and his belief in God, yet there is no strong feeling on his face. No indications of worry, wrath, trepidation, conclusion, nothing. It is not anything but an emotionless gaze as if he understands what it is he should do and is content in fulfilling that task (Avery, and Finn, 1997).

Comparison

As you study the face of Bernini's "David" although, there is a much distinct scene. You can glimpse inside his face a gaze of sheer conclusion and anger. His eyes are set with all of the storm in his body apparently crunched up into his brow. The snarl of his shut and pursed lips demand vigilance as if they are telling Goliath of his destiny as if he had foreseen it in a dream (Gardner, 1991). Pure abhorrence dispenses out of every characteristic on his face. His cheeks are tense and muscular as if he is gritting his teeth, his nose flares with every wind and even his hair appears as if it is ready for the strike.

Moving on past the heads of the sculptures the next thing I took observe of was the positioning of the arms, his sling, and the stone (Martin, 1977). On Michelangelo's figurine, David's right hand suspends rather calm at his edge retaining the lethal pebble while his left hand rests lazily on his shoulder, hiding the ...