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Bellwork: Compare and Contrast Compare and Contrast David sculptures • • • • • • • • SIMILARITIES Bronze sculptures David as a youth Based on the biblical story of David and Goliath Depict end of battle where David stands victorious after cutting off Goliath’s head Goliath’s head placed at feet Arm on hip, sword in other hand Contrapposto Medici commissions (both now at Bargello Museum) LEFT: Donatello’s bronze David, made around 1446 RIGHT: Andrea del Verrocchio’s David, made 1473-75 Donatello’s David bronze, ca. 1446 ● ● ● ● David is NUDE! Stands 5’2” approx. Wears a soft hat and a pair of boots Hair is long and hangs down in ringlets ● Expression – far-away look ● Located in Florence – David is a symbol of Florence (Medici family commission) Verrocchio's David bronze, 1473-75 "Verrocchio” in Italian means "true eye” , and was the artist’s nickname. The name was a tribute given to him for his artistic achievement. NOT NUDE! Classical inspired tunic -- armor/cloth? (fine details – gold trim in clothes, hair) More Angular – diagonal lines of left arm carries follows to pointed sword Smaller -- Just over 4 feet (and shorter, curly hair) • Model said to have been a young man and a newcomer to his workshop…Leonardo da Vinci (dressed in latest fashion) Expression – slight smirk Goliath’s Head is a separate bronze piece! Goliath’s head is sometimes placed in between David’s feet and is a separate piece of bronze. Located in Florence and Medici family commissioned First David by Donatello David, marble, 1408 Traditional – conventional posture of a triumphant youth - CLOTHED Classical features similar to sculptures found in Ancient Greece and Rome Contrapposto A little over 6 feet tall Commissioned by Cathedral of Florence’s operai – “workers” – who wanted to place 12 sculptures up and around the buttresses, but they were too small to see from the ground and were removed 1416, Florence government requested its display at the town hall Casting Techniques: BRONZES Bronze = copper and tin DIRECT VS INDIRECT Lost-Wax Methods + small amounts of other metals DIRECT Direct Lost-Wax Technique animation made for "Hadrian" Exhibition in the Israel Museum (about 4 min) Object produced is always unique because the mold is destroyed as part of the casting process Used frequently in Italian Renaissance Disadvantages • If the casting failed, the wax model (the sculptor’s entire work) was lost • Only one bronze could be produced from a sculptor’s model Rediscovery of antiquity -Greek and Roman Bronzes! • PATRONS: 1500 - bronze collections of antiquity became popular o Patrons wanted old and new works! • ARTISTS: Refined indirect lost-wax method o Earliest sculptor known to have routinely used indirect casting was Antico of Mantua (ca. 1460–1528) Ancient GREEKS used indirect lost-wax early on – 7th century BCE • No description survived • Did Renaissance artists reinvented it or just revive it? (some indirect casting in Medieval times) BRONZES DIRECT VS INDIRECT Lost-Wax Methods Indirect Lost-Wax Casting Method (about 6 min) • Involves casting a second model in wax – intermodel (required piecemolding) • Multiple versions of the same piece was possible – early form of MASS PRODUCTION Research Paper: Iconic Community Artwork The Connection Between David and Florence David has been an emblem for the city of Florence, Italy, since Renaissance times. Like Florence, David turns out to be more powerful suspected. David symbolized the image Florence wanted – strength, youthful confidence, and victory over adversities. David was a reminder for Florence to: “defend boldly and justly.” Use your technology to research an iconic artwork that represents a city in our world today. See Assignment and Rubric 100 Mastery Points Due Monday, Jan. 30