#Michelangelos David

[flowersfrombefore]

Moodboard of me after looking at Michelangelo’s David for the 5 billionth time

[tschulijulesjulie]

his anus is actually not there, haven you seen cunk on earth?

everyone always points out how michelangelo sculpted a jugular vein on his david before it was discovered or how detailed his hands and forearms are but no one ever discusses the fact that he also gave him a hyper realistic rectum and prostate. you can't actually see it but it's there

[chantssecrets]

Michelangelo's David, original and updated

[mysharona1987]

Gee, Florida. These Italian nuns posing for a selfie with the statue of David certainly don’t think it’s pornographic.

When you are too prudish for nuns, ffs.

[canisalbus]

Apologies if this ask sent twice, but I was out thrifting recently and found this handsome lad, who of course reminded me of your sad (now bloodless) dog man

.

[andy-clutterbuck]

[diana-andraste]

Untitled (standing nude before mirror), Joseph Cornell, n.d.

[sailorsally]

They are the same picture to me....

[va-lentine]

David di Michelangelo

[binarysunset17]

Oh god.. what have i done

[strathshepard]

Blow-Up Original 1966 U.S. One Sheet Movie Poster at Posteritati

[aliciavance4228]

Many people talk about how Cellini's depiction of Perseus with the head of Medusa is disturbing because Perseus is shown holding her head victoriously/full of pride, but if you view the statue from below this is literally his face:

It seems to be an effect Michelangelo's Statue of David has too, with the difference that the angles are reversed. If you watch the statue from below David seems glorious and has a god-like appearance, but if you watch it from above you realize that he is in fact afraid, because in that scene he's supposed to look at Goliath.

[the-paradigm-web]

[conformi]

David "Chim" Seymour, Boy sitting on a mailbox, 1950 VS Michelangelo Buonarroti, Day | Tomb of Giuliano de' Medici, Sagrestia Nuova, Florence, Italy, 1526-1531

[blueiscoool]

Michelangelo’s ‘David’ Was Carved Out of a Flawed Marble Slab

Two sculptors had tried and failed to chisel something out of the block—until Michelangelo stepped up.

Michelangelo’s David was recognized as a masterpiece the moment it was unveiled. In fact, its commissioners found the sculpture so beautiful, and so massive, that they decided its intended home, high up in the roof of a cathedral, just wouldn’t cut it.

The statue was conceived almost a century before Michelangelo picked up a chisel to create it. In the early 1400s, the Opera del Duomo, the workshop of Florence’s cathedral, began commissioning pieces for a series of 12 massive sculptures depicting prophets from the Old Testament. These would each be housed in niches of the church’s tribune, semi-domed apses in the roofline, over 260 feet high.

In 1464, Agostino di Duccio, a sculptor inexperienced with projects at such a large scale, was commissioned to create the statue. Duccio traveled to a Carrara marble quarry in Tuscany, where he handpicked a giant block of stone. Upon its arrival in Florence after a long, arduous journey, the block was found to be a flop. The hewed hunk of marble was tall but thin and riddled with holes and veins, imperfections both unaesthetic and potentially compromising to the structure of so large a statue.

Realizing his error, Duccio chipped at the stone with his hammers and chisels for a while, but soon gave up on his work. The abandoned wedge of marble went untouched for a decade until another sculptor, Antonio Rossellino, seized the mantle. After some attempts to salvage the work, he, too, deemed the block unusable. It was left naked in the Opera’s courtyard for another 25 years.

Finally, in the summer of 1501, the workshop’s overseers assigned the work to Michelangelo. In just over two years, he transformed the misunderstood marble block into the 17-foot-tall statue that is today one of the most famous artworks in history. At the unveiling, the unexpected size, weight, and beauty of the statue demanded a reshuffling of plans. In 1504, 30 Florentine cultural leaders, including Leonardo da Vinci and Sandro Botticelli, convened to determine David’s fate.

After months of raging debate, it was decided that the statue deserved a spot in the Piazza della Signoria, in front of Florence’s town hall. It took 40 men four days to transport a rope-bound David, caged in wooden scaffolding, from Michelangelo’s workshop to the plaza a half-mile away. Upon arrival, the artist took his chisel to his creation one last time, applying finishing touches. The statue had been designed for viewing from far below; this unexpected setting and perspective required slight modifications.

The statue became quickly known as “the Giant,” a symbol of liberty for the Florentine people, with his glare pointed at their rival city, Rome. Though beloved, the Giant fell victim to vandalism in his first year, when protestors pelted the colossal sculpture with stones. In 1527, a riot against the ruling class broke out in the plaza, and a bench thrown out of a window struck the statue, breaking its arm into three pieces. David went on to survive earthquakes and lightning strikes before the city council decided to protect him.

After almost 370 years, fans and art connoisseurs finally compelled the city to move David into the Galleria dell’Accademia for his protection in 1873; he still stands there today. Even in the confines of the museum, though, David was unsafe. In 1991, a mentally disturbed Italian artist, Pierro Cannata, snuck a hammer into the museum. With it, he lunged at David’s left foot, shattering a toe before being subdued by museum-goers. Cannata claimed that La Bella Nani, a figure from a Veronese painting, compelled him to strike David. Thanks to the attack, David’s beauty is now shielded from jealous hands and hammers by a wall of plexiglass.

By Adnan Qiblawi.

[confirmeddead]

Saw this photo of Assad Zaman and my mind immediately went here