Naturalismul și virtuozitatea plastică în reprezentarea statuară a lui David în viziunea sculptorilor Donatello, Verrocchio, Michelangelo și Bernini

Abstract

Four identities, four masters, five solutions to the same subject, each of them demonstrating, among many others, the importance of the correlation between mimicry and attitude. The most important "novelty" that Donatello brings, through this sculpture, is the positioning of the character in a classic contra-post, but which preserves the elegant and traditional Gothic posture. The portrait, however, contrasts with the serenity of a curiosity displayed on a face that doesn't let us see anything of the heroic act performed, as if he didn't even care about the severed head of his rival lying at his feet. Several of the researchers translated this attitude as one full of personality, a kind of - it was child's play - suggested by the slight twist of the body and the positioning of the left hand on the hip. It is obviously an exaggerated twist, which has nothing in common with reality which rather depicts a character with a peaceful, even gentle attitude. Andreea del Verrocchio was himself a mature sculptor when he tackled the biblical theme of David. He too kept the youth of the character but instead did not want the appearance of a teenager with effeminate features, even if he reproduced with great accuracy the beauty, delicacy and fragility of the age. The harmony, strength, virility, beauty and naturalness of the male nude are the main attributes brought out by the masterful solution that Michelangelo gave to this statuary representation. Naturally, it was assimilated as one of the most popular and representative works of the Renaissance. If in the predecessors we can see the influence of Polycletus, through the work Doriphorul, on the posture of the representations of David, in Bernini we could say that the source of inspiration for the character's pose would be Myron's Discobolus.