Michelangelo's David Essay

The Classical era of Ancient Greek art greatly reflected the values and beliefs the Greeks held. The ideas of unity and simplicity were the cornerstones of the Classical age and this is exemplified in the statues of the Kroisos Kouros and later, during the rebirth of Classicism, in Michelangelo’s David. During the Classical period sculptures showed man not as he is, but how he ought to be, a perfected version of nature.

The Kroisos Kouros or Anavaysssos Kouros was found in Attica and is believed to date back to 530 BCE. There were hundreds of Kouroi made as the archaic period drew to a close and the birth of Classicism begun. The Kouroi were used as grave markers and votive offerings to the Gods
The Anavaysssos Kouros is carved from marble

In comparison with the Kroisos Kouros, the David seems to be the very picture of perfection embodying all the Classic Ancient Greek ideals of order symmetry and proportion. Compared to the Kouros, whose anatomical features are shown in an almost geometric way, Michelangelo’s David is very animated and lively. He is based upon the biblical hero by the same name, depicted just before his battle with Goliath. He stands with his weight resting on his right leg while his left is slightly bent, displaying the contrapposto pose, exhibiting diagonal tension in his body typical of Classical sculptures. Although extremely lifelike his pose seems to be almost meditative as if he is planning the defeat of his nemesis. His right hand rests at his side holding a stone while his left is reaching for the near invisible sling from his back. David’s sling, which is carved on his back, is very faint in this piece and one could construe that Michelangelo wanted to emphasise David’s intellectual prowess over his fighting abilities. Further evidence for this argument is that the David’s head and hands have been slightly exaggerated and made larger, maybe emphasising David’s thought process. It is more likely, however, that because the David was originally meant to stand well above the ground, within the ceiling of a cathedral, that Michelangelo simply exaggerated these features so the David would look proportionate from a low vantage point. Michelangelo’s supreme