Donatello, David, bronze, c. 1440s발음듣기
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Donatello, David, bronze, c. 1440s
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출처 : 칸아카데미
Donatello, David, bronze, c. 1440s
[music playing] We're in the Bargello in Florence in an enormous, vaulted room.
This is a building that was used for judicial purposes. Now it's a museum.
And it holds Donatello's "David", one of the most important sculptures of the early Renaissance.
Important because it was the first freestanding nude sculpture since classical antiquity, quite an achievement.
So for a thousand years the Christian West had looked to the soul as the place to focus.
The body was seen as a path to corruption.
And so it was not to be celebrated.
So what we're seeing here is a return to ancient Greece and Rome's love of the body, its respect for the body, which is so evident. It really is.
Donatello has looked back at ancient Greek and Roman sculpture also for the position that David is standing in, the position of contrapposto, which is a very relaxed pose where the weight is placed on one leg.
The other leg is bent.
And the figure has because of contrapposto a sense of movement.
In the Renaissance this figure looked remarkably alive given the way medieval sculpture had looked for so long.
It's detached from any kind of figural group or any kind of architecture.
And so there really is a sense of autonomy as if this figure could move forward of its own accord.
The figure is referencing the classical in another way as well in its very material nature.
This is bronze, largely copper, with a little bit of tin added to it to give it strength, and it's actually hollow.
It is created through a technique which is known as lost wax casting, which the ancient Romans and the ancient Greeks before them had employed, and which had been used throughout the medieval period, but not at this scale.
And it was just in the early Renaissance that artists are beginning to re-explore how to create bronze sculptures that are this large.
David is very young, and it's hard not to see a kind of sensuality in the way that David puts his hand on his hip and looks down.
And the fact that he's wearing boots and a hat and is otherwise nude, there is a kind of eroticism here.
And that's especially evident if you look at the fact that David is standing on the now severed head of Goliath.
In fact, in his right hand he's holding Goliath's own sword which David has used, but because he's standing on that head, that pushes his leg up.
One of the wings of the helmet is just riding up the inner thigh, perhaps a little too high, in fact.
And so there really is a kind of overt sexuality here.
And it's so interesting, because it's at odds with the civic symbolism of this sculpture.
This was a sculpture that was really important to the city of Florence, and yet it has this very intimate quality to it.
It was seen in the 1460s in the Medici garden.
Although we're not exactly sure who commissioned it, it's likely that it was a Medici.
So the Medici palace had a large entranceway, and there was a kind of axes that allowed you to see directly into the garden and this would have been visible in the center of it.
That's right. It's really important for us to remember that to the Florentine people this wasn't just King David from the Bible.
There were all sorts of associations.
First of all, David in the Biblical story defeats his enemy, even though he's the underdog.
He defeats his enemy with God's help.
The Florentine people felt, very much identified with David because like David, they had defeated their enemy.
Or this is how they saw it, they had defeated their enemy, the Duke of Milan, in the early 15th century, with the help of God.
In fact they felt blessed and chosen by God and the heirs of the ancient Roman republic, and so the subject of David represented Florence, the Florentine republic.
So Goliath in a sense takes on the role of the Duke of Milan.
Milan was significantly stronger than Florence, which was a mercantile culture, as opposed to a military power.
And Florence was of course was a republic whereas Milan was an autocracy.
That is, it had a single ruler.
Well, and so David became a symbol of the Florentine republic.
Anyone looking at this sculpture in the Medici garden in the 15th century would have understood David as a reference to the liberties and freedoms that were so cherished by the Florentine people and had been threatened by the Duke of Milan.
On the other hand you could say that the Medici were usurping the civic symbolism for themselves in some ways.
And in fact, when the Medici were run out of town, this sculpture was actually taken to the Signoria, that is, to the town hall, and made a public sculpture.
And so there is really the sense of the investment of this culture in this story.
Right, and by so having it in the Medici garden appropriating this symbol of the city, and all that was great about the city, Medici were appropriating that for themselves.
So here in this sculpture is this embodiment of the promise of a long rule.
David will grow up to be king, to have been enormously wise and in a sense it was a perfect kind of story for the Medici to put forward as a representation not only of the city but specifically of their own rule within the city.
Right. So they are sort of identifying themselves as the city of Florence, identifying themselves with youthfulness, with King David, and with all that's great about the Florentine republic.
And although this is a sculpture that is about war, the symbols are clearly about David and peace and the Medici and peace.
David wears a soft hat as opposed to the helmet of war that Goliath wears.
David has severed Goliath's head with Goliath's own battle-hardened sword.
If you look at that sword closely, you can see that there are notches out of it.
It's been in many, many battles.
David needs to borrow it in order to sever that head.
But in David's other hand, in his left hand, he holds a rock, presumably the rock that he used in the slingshot to actually fell the giant in the first place.
But I think it's interesting, that Donatello, here, a sculptor, is actually portraying that rock as in a sense the opposing weapon to the sword.
That is, a material that Donatello as a sculptor often carves.
He works in marble as often as he does in bronze, perhaps more often.
And so are these in a sense the two weapons of the two cities?
In other words, the violence of Milan versus the culture of Florence.
The iconography, all of the meanings, David and what that meant to the city of Florence, the eroticism, or even the homoeroticism, art historians are not really sure about all of those meanings. for the 15th century Florentine people.
And some art historians have even suggested that the identification of this figure as David is not even completely secure, that it could also have been read as Mercury.
And so we see it in a complicated way, and it's quite likely that the people of Florence in the 15th century saw it in a complicated way and had multiple readings of it.
It's an important reminder that art history itself is a process of trying to restore meaning and understand meaning through the lens of time.
And is, after all, 600 years old.
That's right. But nevertheless, it is one of the great sculptures that really embodies so many of the ideals and so many of the concerns of the 15th century.
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And it holds Donatello's "David", one of the most important sculptures of the early Renaissance.발음듣기
대기중
Important because it was the first freestanding nude sculpture since classical antiquity, quite an achievement.발음듣기
대기중
So what we're seeing here is a return to ancient Greece and Rome's love of the body, its respect for the body, which is so evident. It really is.발음듣기
대기중
Donatello has looked back at ancient Greek and Roman sculpture also for the position that David is standing in, the position of contrapposto, which is a very relaxed pose where the weight is placed on one leg.발음듣기
대기중
In the Renaissance this figure looked remarkably alive given the way medieval sculpture had looked for so long.발음듣기
대기중
And so there really is a sense of autonomy as if this figure could move forward of its own accord.발음듣기
대기중
This is bronze, largely copper, with a little bit of tin added to it to give it strength, and it's actually hollow.발음듣기
대기중
It is created through a technique which is known as lost wax casting, which the ancient Romans and the ancient Greeks before them had employed, and which had been used throughout the medieval period, but not at this scale.발음듣기
대기중
And it was just in the early Renaissance that artists are beginning to re-explore how to create bronze sculptures that are this large.발음듣기
대기중
David is very young, and it's hard not to see a kind of sensuality in the way that David puts his hand on his hip and looks down.발음듣기
대기중
And the fact that he's wearing boots and a hat and is otherwise nude, there is a kind of eroticism here.발음듣기
대기중
And that's especially evident if you look at the fact that David is standing on the now severed head of Goliath.발음듣기
대기중
In fact, in his right hand he's holding Goliath's own sword which David has used, but because he's standing on that head, that pushes his leg up.발음듣기
대기중
One of the wings of the helmet is just riding up the inner thigh, perhaps a little too high, in fact.발음듣기
대기중
This was a sculpture that was really important to the city of Florence, and yet it has this very intimate quality to it.발음듣기
대기중
So the Medici palace had a large entranceway, and there was a kind of axes that allowed you to see directly into the garden and this would have been visible in the center of it.발음듣기
대기중
That's right. It's really important for us to remember that to the Florentine people this wasn't just King David from the Bible.발음듣기
대기중
The Florentine people felt, very much identified with David because like David, they had defeated their enemy.발음듣기
대기중
Or this is how they saw it, they had defeated their enemy, the Duke of Milan, in the early 15th century, with the help of God.발음듣기
대기중
In fact they felt blessed and chosen by God and the heirs of the ancient Roman republic, and so the subject of David represented Florence, the Florentine republic.발음듣기
대기중
Milan was significantly stronger than Florence, which was a mercantile culture, as opposed to a military power.발음듣기
대기중
Anyone looking at this sculpture in the Medici garden in the 15th century would have understood David as a reference to the liberties and freedoms that were so cherished by the Florentine people and had been threatened by the Duke of Milan.발음듣기
대기중
On the other hand you could say that the Medici were usurping the civic symbolism for themselves in some ways.발음듣기
대기중
And in fact, when the Medici were run out of town, this sculpture was actually taken to the Signoria, that is, to the town hall, and made a public sculpture.발음듣기
대기중
Right, and by so having it in the Medici garden appropriating this symbol of the city, and all that was great about the city, Medici were appropriating that for themselves.발음듣기
대기중
David will grow up to be king, to have been enormously wise and in a sense it was a perfect kind of story for the Medici to put forward as a representation not only of the city but specifically of their own rule within the city.발음듣기
대기중
Right. So they are sort of identifying themselves as the city of Florence, identifying themselves with youthfulness, with King David, and with all that's great about the Florentine republic.발음듣기
대기중
And although this is a sculpture that is about war, the symbols are clearly about David and peace and the Medici and peace.발음듣기
대기중
But in David's other hand, in his left hand, he holds a rock, presumably the rock that he used in the slingshot to actually fell the giant in the first place.발음듣기
대기중
But I think it's interesting, that Donatello, here, a sculptor, is actually portraying that rock as in a sense the opposing weapon to the sword.발음듣기
대기중
The iconography, all of the meanings, David and what that meant to the city of Florence, the eroticism, or even the homoeroticism, art historians are not really sure about all of those meanings. for the 15th century Florentine people.발음듣기
대기중
And some art historians have even suggested that the identification of this figure as David is not even completely secure, that it could also have been read as Mercury.발음듣기
대기중
And so we see it in a complicated way, and it's quite likely that the people of Florence in the 15th century saw it in a complicated way and had multiple readings of it.발음듣기
대기중
It's an important reminder that art history itself is a process of trying to restore meaning and understand meaning through the lens of time.발음듣기
대기중
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