David and the Old Testament

The Biblical David began as a mere shepherd boy and ended as the king who made Israel into a unified kingdom. There were many legends that surrounded "this complex and many-sided personality," and most of them were used in some way in Christian art (Hall 92). David made Jerusalem Israel's capital, he was a musician who was credited with writing the Psalms, and as a young boy he killed Goliath. In the Biblical account David's older brothers were in the army, but he was too young and was left behind to tend the family's sheep. David went to take food to his brothers and, seeing that eve

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h an interpretation. Yet the clearly seen face of the dead Goliath hardly seems evil or frightening enough for such an idea. He merely looks like a dead man and the drama of the piece is really in the contrast between the vacant face of Goliath and the thoughtful looks of David. The aftermath of the violence seems to have produced a curious calm in which David may be meant to be thinking about all that this act would mean for the future. In Michelangelo's version of the David theme there is a marked contrast with both earlier conceptions. The most important, of course, is that the scene has been changed. Here, and in Bernini's work, the scene is set before David kills Goliath. Michelangelo's David could be "a boy of perhaps sixteen, not fully grown, but with the powerful muscles of a child of the people" (Hartt 421). He is about the same age as Verrocchio's David, but the delicate, linear quality of the Verrocchio work is entirely replaced by the solid grace of Michelangelo's version. Like Donatello, Michelangelo was absorbed by the idea of the antique. But his realization of the antique ideal is entirely different. Michelangelo's 17-foot David "showed him in the guise of an antique hero" and, now, completely nude (G
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Approximate Word count = 2134
Approximate Pages = 9 (250 words per page)