The David of the Renaissance

 Meanwhile, European cities maintained forms peculiar to the Middle Ages such as Spain, while others such as Italy, specifically Florence, adopted new characteristic forms of art, aimed at contrasting the new with the old and reflecting different political and cultural conceptions in the new modern man. philosophical until then.

The cultural heritage of the Roman Empire (classical monuments still standing) in cities such as Rome and Florence, along with other factors, prevented medieval religiosity from destroying the prestige of a powerful classical and pagan culture from Rome. Florence, from economic primacy now adds cultural primacy.

There are different criteria in the periodization of the Renaissance. The early Renaissance is applied to the Italian peninsula with Florence being later its center. Then it moved to Rome and for this reason it is called the Roman or classical Renaissance, the moment of greatest development of this style, and later the late Renaissance in the last decades of the 16th century. We will allow ourselves to locate its outbreak in the fifteenth century in Florence, its gradual extension throughout Europe during the sixteenth century meaning other regions and Spain, whose splendor is notorious with typical forms that would later be transferred to America.

Bourgeois humanism is closely linked to the Renaissance. This conception is nothing more than the accepted ideology at the time when man ─as a model─ is the center of the world and of earthly life, which does not mean that this stage is considered anti-religious because in the superstructures there are elements of the above with more or less strength in different countries.

The new humanist ideology takes a different point of view; man does not feel that vocation of yesteryear for eternity, nor abhor his body and aspire only to the pure spirit, but to a harmony, duality of body and soul; nature leaves its sinful character and is integrated into the destiny and fulfillment of man; in terms of theology, sensoriality is now one more proof of the existence of God capable of transforming himself into a beautiful world. The Renaissance aspires to rationalism, to eternalize itself in the memory of posterity; fame and glory gain importance, life devoted to action and thought; the man of letters is also a practical man.

A new conception of art and the artist emerges. From being a craftsman he was promoted to the hierarchy of 'prince of the spirit'; therefore, the work, already converted into an art object enclosed in its own purpose, begins to delight the senses. Little by little it will be merchandise for the enjoyment of those who have money who treasure art in palaces. The patronage will then be a necessary condition for the development of the artist who will depend on the power and money of the bourgeois lords.

At the beginning of the 16th century the works of Leonardo Da Vinci and Michelangelo, peaks of the second Tuscan Renaissance phase contain within themselves the germs of the new anti-Renaissance aesthetic: in one the exasperated plastic and in the other, the desire for the treatment of light; but above all because they could no longer be indifferent to the critical shock in aspects of life and within the papal court.

Among many of the artists who showed sumptuousness and search for a platonic ideal of model beauty, we choose Michelangelo for being considered today the author of the best work in the world.

Michelangelo Buonarroti (1475-1564), considered one of the greatest artists of all time, the most important figure in Renaissance art whose work dominates the entire 16th century and even the following centuries; his influence crosses the Alps and leaves traces throughout Europe.

Miguel is a unique case that cannot be pigeonholed into the classical renaissance; the artist destroys everything that has been established up to now, at the same time that he seizes and demonstrates his mastery in the management of the arts, venturing into painting, sculpture, architecture and leaving us a legacy of incalculable value -wonderful works created- in the three plastic manifestations.

In the David, sculpted in Florence in the early 16th century , you can see vigilance, strength and anger as a version of the character; This interpretation, different from those made until then, did not represent the usual attributes. Filled with new breath, the marble seems to have life and movement; the muscles tense as if waiting for the enemy and his face denoting self-confidence and triumph.

In his Moses of 1945, expresses all the concentrated force of a being belonging to an exceptional humanity. He demonstrates colossal strength and potential in body bulk. He breaks with the norms of cold classicism, of balanced nobility, of smooth and soft texture to give, with full and empty that follow one another, the impression of a replay of light and shadow that accentuates movement and life.

The work sculpture «David» is in Florence, Italy, located in the Accademia Gallery. Made of white marble, 5.17m high and 5572kg in mass, this monumental piece was inspired by the biblical character described in the books of Samuel and Chronicles, as well as his old age and death in I Kings. David, successor to the kingdom of Saul, the second monarch of the united kingdom of Israel, who achieved such expansion during his reign to control Jerusalem, Samaria, Petra, Sabah and Damascus.

Since its construction it has suffered great misfortunes, we show you.

In 1504 the sculpture was stoned by young supporters of the Médici, powerful and influential family from Florence.

In 1512 lightning struck the base of the piece.

In 1527 there was a brawl and a bench was thrown out of a window and David lost an arm, sixteen years later it was replaced.

In 1843 the statue is cleaned and loses the protection that covered it, being exposed to inclement weather.

In 1873 it was moved from Piazza della Signoria to the Accademia Gallery. A replica is made in 1910 and placed in Piaza della Signoria (the square of the lordship).

In 1991 a person destroyed a toe on David's left foot, which was later rebuilt, but from then on it was secured with a bullet-proof glass structure.

In 2003 the first restoration was done, which ended in 2004.

 It is estimated that more than a million tourists come to the Accademia Gallery each year to meet Michelangelo's David, assignee of time. The massive nature of these visits causes vibrations in the ground, which, together with the reappearance of the cracks repaired with stucco in the sculpture, are today a matter of concern and occupation for the Italian authorities in their desire to give eternity at all costs to the colossal construction site.