David of Michelangelo — Attraction in Florence

This was of great concern to the Operai authorities, as such a large piece of marble was not only costly, but represented considerable labour and difficulty in its transportation to Florence.9]

In 1500, an inventory of the cathedral workshops described the piece[16] as "a certain figure of marble called David, badly blocked out and supine."[1719 A year later, documents showed that the Operai were determined to find an artist who could take this large piece of marble and turn it into a finished work of art. They ordered that the block of stone, which they called il gigante (the giant),20 be "raised on its feet" so that a master experienced in this kind of work might examine it and express an opinion. Though Leonardo da Vinci among others was consulted, and Andrea Sansovino was also keen to get the commission,22] it was Michelangelo, at 26 years of age, who convinced the Operai that he deserved the commission.[23] On 16 August 1501, Michelangelo was given the official contract to undertake this task. It said (English translation of the Latin text):

... the Consuls of the Arte della Lana and the Lords Overseers being met, have chosen as sculptor to the said Cathedral the worthy master, Michelangelo, the son of Lodovico Buonarrotti, a citizen of Florence, to the end that he may make, finish and bring to perfection the male figure known as the Giant, nine braccia in height, already blocked out in marble by Maestro Agostino grande, of Florence, and badly blocked; and now stored in the workshops of the Cathedral. The work shall be completed within the period and term of two years next ensuing, beginning from the first day of September ...[24]

He began carving the statue early in the morning on 13 September,[25] a month after he was awarded the contract. The contract provided him a workspace in the Opera di Santa Maria del Fiore behind the Duomo, paid him a salary of six fiorini per month, and allowed him two years to complete the sculpture.[26]

When the finished statue was moved from the Opera del Duomo to the Piazza della Signoria over the course of four days, as reported by two contemporary diarists, Luca Landucci and Pietro di Marco Parenti, a guard was placed to protect it from violence by other artists in Florence who had hoped for the commission.[27 They were hostile to Michelangelo because of his bold request to the wardens of the Cathedral and the governor of the city, Piero Soderini.29] Despite the precaution, the sculpture was damaged by stones, leaving still visible marks on the upper part of its back.[30] Four youths from prominent Florentine families were subsequently arrested by the Otto di Guardia and all but one were imprisoned for what may have been simple vandalism without a political motive.[28

David is a masterpiece1 of Italian Renaissance sculpture, created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the early modern period following classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral (Duomo di Firenze), but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell'Accademia, Florence, and in 1910 replaced at the original location...

Michelangelo

This Building is first academy of fine arts 1100- who taught them workshops Left the convent decoration and all other convents works here 1872 govt bright Davis to the convent.

Mike is a painter and architect Sculpting in past

-sketch -clay model -plaster model life size -nails became dots to measure proportions. On marble (sight measuring) In 1800 room of plaster models invented nonfinite in Italian= expressive ] He didn’t like painting real artists don’t add matter to another matter to express something. Artist are who remove matter from matter brings out what is dormant in the matter. He would visualize what he wanted and removed [ ] The artist carving is unpolished [ The artist uses chisels and hammers. The first is thick and pointy first stage [ ] Then horizontal chisels [ ] Then thinner and thinner [ ] Have different teeth and a lot of control in the wrist. He worked won’t a plaster model He started at the front to the back 5meter 5.5 tons 1872 10 days to come to the academia of art

It was carved on porous marble David king of Israel who defeated Goliath According to the story David was -3 year old the pholistjnes were trying to co queer Israel the philistense got Goliath. King Saul’s soldiers could fight him. He said from God showed him a new king for Israel. The message is that the face of the new king was an Israeli. Young Shepard volunteered. He insisted. He used a leather sling and 5 stones. Giant was hit in the head and David severed his head. [ ] Mike represents him getting ready to sling the stone it’s in that moment when he became king.

Made from an abandoned block of marble. Two other sculptures tried to carve on it. Medici exiled outside from Florence till 1512 represent the young republic defeating the Medici family. Michelangelo moved to Rome for pope Julius II tomb, he worked for 30 years on it. Asked him to paint the vault of the...

Michelangelo’s David, a monumental marble sculpture housed in the Galleria dell'Accademia in Florence, is not merely a masterpiece of the High Renaissance but a powerful embodiment of human potential and artistic genius. Carved between 1501 and 1504, this 17-foot-tall figure depicts the biblical hero David just before his confrontation with Goliath, a choice that imbues the statue with an incredible sense of latent energy and psychological depth. What immediately strikes the viewer is the sheer scale and anatomical precision. Michelangelo, a master of human form, rendered every muscle, vein, and tendon with astonishing realism, conveying both physical perfection and a believable sense of tension. David’s brow is furrowed in concentration, his eyes fixed on an unseen foe, and his right hand loosely grips a stone, suggesting a moment of quiet determination before explosive action. This pre-action pose differentiates it from earlier depictions, showing David not victorious but contemplative and prepared. Beyond its technical brilliance, David resonates with symbolic weight. Originally commissioned for the Florence Cathedral, it quickly became a civic symbol for the Florentine Republic, representing freedom, strength, and the triumph of virtue over tyranny. Its placement outside the Palazzo della Signoria, the seat of Florentine government, reinforced this message. Today, standing before David is an awe-inspiring experience. The polished marble gleams, catching the light and highlighting the intricate details of Michelangelo's carving. It’s a work that transcends its historical context, continuing to inspire and challenge viewers with its timeless message of courage, intelligence, and the enduring power of human endeavor. David remains an undisputed icon, a testament to both Michelangelo's unparalleled skill and the enduring legacy of...