Art Complete Identifications Period/Date- Renaissance 1501- 1504

Art

Complete Identifications

Period/date- Renaissance 1501- 1504

Location or origin- Florence Italy

Medium and size- Sculpture

Period/date- Baroque 1610

Location or origin- Rome

Medium and size- Painting

The story of David and Goliath is one that transcends time. In particular, the story appeals to a wide array of diverse individuals, each with its own views on religion, culture and values. Through the universal appeal of David, many different interpretations have arisen throughout time. These interpretations, although distinct, often convey a fundamental truth prevailing during the period of its creation. Aspects such as war, political policies, civil unrest, and culture values often matriculate into the interpretation of the David of Goliath. Art is no different in this regard. Both the Baroque and Renaissance periods gave rise to new and distinct forms of belief and expression. These concepts ultimately matriculated into many of the more commonly know masterpieces of today's time. The sculpture "David," and the painting, "David with the Head of Goliath" both represent a unique period of time. Each, although representing the same story, have very distinct attributes that make both forms of art unique (Hartt, 1982).

To begin, arguable the most well-known sculpture of all-time is that of Michelangelo's "David." The sculpture was completed in 1504 in Florence, Italy. The sculpture was created during the Renaissance period which encouraged thought and knowledge. The cultural movement of the Renaissance was due to the inventions of paper and the ability to transcribe information on it. As such, the exchange of information becomes rapid. Those seeking knowledge could now have more opportunity to obtain it. As such, many of the worlds though leaders emerged during this period. The use of David as a subject for a sculpture had political implications for many of the leaders in Italy. The sculpture of David therefore came to symbolize the defense of civil liberties throughout Italy. Many pundits believe that the eyes of David were a warning glare towards Rome. The sculpture depicts the decision of David to fight Goliath. The expressions represented within the veins in his hand, the turn of his neck, and the overall look of determination in his eyes are all aspects with the Renaissance style of art (Howard, 1974).

Caravaggio's "David with the Head of Goliath" was created in 1610, during the baroque era. This painting is unique due primarily to its interpretation of David overall. The Baroque period is often identified with grandiose sculptures and paintings. In many instances, these forms of art were used to showcase an elite status of wealth. Much of the style portrays a sense motion, drama and intensity. During the baroque era, the Roman Catholic Church was undergoing dramatic internal reform. As part of this reform, leaders within the church wanted to appeal to a wider array of individuals with particular emphasis on those who were illiterate. In an attempt to do so, the church mandated that paints not only express a story, but also appeal to the sense of those viewing the painting or sculpture. As such extensive use of intense emotions and sensationalism were incorporated into many of the Baroque era paintings. Caravaggio's "David with the Head of Goliath" is no different in this regard. The painting depicts David dangling the head of Goliath, evoking emotions in the viewer, much like many of the other works during the period. The expressions of David himself are also very unique. Many individuals view David as a jubilant and jovial. This painting however, depicts the expression of David mingling sadness and compassion for Goliath. The biographical interest of the painting adds another layer of meaning to an already complex work, David and Goliath standing for Christ and Satan and the triumph of good over evil in orthodox Christian iconography of the period