Bernini, David

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Bernini, David발음듣기

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[Man] So the story of David is is Biblical, its Old Testament.발음듣기

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[Woman] This is David who will become King David.발음듣기

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[Man] And this is the story of David and Goliath that's actually being represented here.발음듣기

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[Woman] Yeah. Although we only see David, obviously. [laughter]발음듣기

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[Man] Although, he sees Goliath.발음듣기

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[Woman] He does here. He clearly see Goliath.발음듣기

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And he's aiming the slingshot, the stone, right at him.발음듣기

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The story is that the Isrealites are endangered by the Phillistines who have this giant of a man who's...발음듣기

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[Man] Who terrifies everybody.발음듣기

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[Woman] Who terrifies everybody and the Isrealites are sure their will be defeated.발음듣기

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Because Goliath, this giant.발음듣기

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[Man] Except this boy, here represented as a young man.발음듣기

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[Woman] Says, well let me go, I'll, I'll face him. Ill face the giant.발음듣기

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And...well..pftp they say you cant do that! Your just a boy!발음듣기

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And they give him lots of armor to put on so his safe when he faces Goliath.발음듣기

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And he takes off his armor. And says "aw I don't need this armor."발음듣기

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And he faces Goliath and defeats him with a single blow.발음듣기

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And of course it was not the blow at all really.발음듣기

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Its the power of God that's behind David It's one of those "you got God on your side you don't really need anything else" stories.발음듣기

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[Man] That's the tough subjects to take on.발음듣기

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[Man and woman] After Michelangelo.발음듣기

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[Man] After Donatello. And unlike the Michaelangelo where we can see the contour of the body almost uninterrupted.발음듣기

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Here the contour is crossed and crossed again and crossed again by his arm.발음듣기

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By the line of his neck, by the cloth.발음듣기

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By the sling that he has across his chest.발음듣기

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And so there's this sort of heightened spiraling of the body.발음듣기

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[Woman] Kind of forceful diagonal and twisting simultaneously.발음듣기

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The tension in the rope as he is preparing to throw the slingshot. You feel that same tension in the twisting of his body.발음듣기

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[Man] It's true. He's almost like a spring, wound up ready to release.발음듣기

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[Woman] Right I mean look at him. His face is such incredible determination. Concentration to it.발음듣기

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[Man] And actually, look at the way he is biting his lips.발음듣기

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It's just this wonderful expression.발음듣기

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[Woman] And and pushing his eyebrows together. There is a kind of psychological insight I always see in Bernini.발음듣기

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And look at how he's made this lovely shadows in the rib cage and in the abdomen.발음듣기

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Really paying attention to the realism of the body but this is a kind of realism as opposed to the idealism of the Renaissance.발음듣기

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And so in a way that is often said about the Baroque.발음듣기

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We feel this especially with David, we feel it in his body.발음듣기

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We feel that tension and concentration as opposed to this sort of distant contemplativeness that feel with the Michelangelo.발음듣기

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[Man] The more universal the more eternal qualities that we associate with the high Renaissance.발음듣기

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That's right, this is much more momentary.발음듣기

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[Woman] And he moves out into our space.발음듣기

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You know he twists. You almost like you want to duck out of the way.발음듣기

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[Man] It's true. And its kind of a visual tension that is constructed both through the actual physical form but also through the treatment of the surface.발음듣기

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[Woman] I'm almost seeing Baroque painting here in the use of light and shadow.발음듣기

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Shadow across his neck. A deep shadow on one side of his face Illumination on the other.발음듣기

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Of course it depends on how he's lit.발음듣기

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But the way the body is twisting against itself.발음듣기

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These areas of deep shadow against illumination.발음듣기

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[Man] Absolutely. And so there is a drama in the lighting.발음듣기

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[Man] Important to note, even here, even in the free standing sculpture I think you can see his understanding of space.발음듣기

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Understanding of the space around him.발음듣기

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It's not only that he is defining light, he's defining the space around the sculpture.발음듣기

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Almost as if it is a kind of architecture of the immediate surrounding environment. [Music]발음듣기

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