The leg offers a support to the trunk that is activated like a spring. The effort of the arm is indulged by the head and even by the look of the boy. In fact the best angle to observe the sculpture is the one that is on the trajectory of the young person. This compositional choice is extremely important to understand the mechanism with which Bernini managed to create such an effective representation of the fact.
The structure is organized with spiral lines that create intense movement. In this way, in fact, the illusion of the muscular charge is used to launch the stone with the sling. If viewed from the front the figure of the David possesses a strong stability that blocks it in the loading of the action. If viewed from the side, instead, it shows instability that derives from the gesture of screwing of the chest.
Click here to book your Borghese Gallery tickets or here to book a Borghese Gallery tour. Previous Next. Gian Lorenzo Bernini, David, , marble, h cm. Bernini created his work not as a separate figure but as a pair composition that focuses on the enemy of David. The space between them has a certain charge belonging to the statue. This is the difference between the work of Bernini and classical baroque. In the seventeenth century, his statue attracted much public attention.
It includes the illusion of the living presence of heroes. And also, looking at the figure, you can immediately understand what the hero will do next. You can read all the emotions and feelings of David on the face, so the author could clearly fashion and perpetuate them.
The biblical David was a significant subject for Renaissance artists. Bernini, Pluto and Proserpina. Bernini, David. Practice: Bernini, David. Bernini, Apollo and Daphne. Gian Lorenzo Bernini, Baldacchino. Bernini, Bust of Medusa. Bernini, Ecstasy of Saint Teresa. Practice: Bernini, Ecstasy of Saint Teresa. According to records of payment, Bernini had started on the sculpture by mid , while his contemporary biographer, Filippo Baldinucci, states that he finished it in seven months which this writer finds hard to believe.
David was the last commission Bernini would take from the Borghese Cardinal. The new pope placed Bernini in charge of all artistic matters in Rome, culminating in his life-long work in transforming St. Peters basilica into the church we so admire today. Borghese's early patronage of Bernini helped to establish him as the leading Italian sculptor and architect of the seventeenth century.
A grateful Bernini did finish the Apollo and Daphne, after he presented the Cardinal with the much admired David. The rest they say is history.
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