Cupid The Archer

After returning to Rome, Michelangelo heard about a sculpture that two other artists could not complete because of its difficulty. Because of his success with ‘‘La Pieta,’’ Michelangelo decides to take over the job. He created ‘‘David’’ in 1501 and four years later the sculpture was placed outside the Palazzo Vecchio in Florence. Michelangelo’s intention was to portray ‘‘David’’as the perfect and ideal man. Michelangelo took three years to sculpt this 17 feet sculpture, and ‘‘David’’ quickly became the pride of Florence.

Created in 1489 this masterpiece is made out of pure marble. This sculpture is located in the Vatican City. At first glance this sculpture looks like child dead in a mother's arms, which is correct but there is more too it. The sculpture represents the crucifixion of Jesus Christ. Its shows his mother Mary holding him and he lays there dead. A very little detail that usually goes unnoticed is that Mary is not touching her son directly, but a cloth is between the two. This signifies the Higher Renaissance belief in Neoplatonic, that the beauty on earth signifies God's beauty. This masterpiece is not only amazing by the meaning but the glorious detail that Michelangelo was able to go into with practically a hammer and chisel.

The artwork is portrayed as a naked man holding the head of Medusa in his left hand and in his right hand he the sword that beheaded Medusa and he were wearing the cap of darkness and the winged sandles. It was all carved in marble. This sculpture was made by Antonio Canova, he was born in Passagno. This marble was carved in Rome in 1804-6.

The stone sculpture is made from marble. The artist remains unknown, but it was restored by the Italian Vincenzo Pacetti, an eighteenth-century sculptor. It is a Roman copy of a Greek work of the fourth century B.C. It is a medium size statue with a height of 82 3\4 in. (210.2 cm). Vincenzo Pacetti (1746-1820) was an Italian sculptor dedicated to restoring classical sculptures and then sell them to the rich.

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

In the early official and private portrait of the Etruscan- Roman tradition, the achievement of sculpture from the identity of the ideal Republican demonstrated motivation behind the virtus, veristic, and gravitas qualities. The Etruscan Roman portrait sculpture of the “Patrician Carrying Portrait Busts of Two Ancestors” is a life-size marble statue that was dated to the period of the Emperor Augustus somewhere at the end of the 1st century BCE or the beginning of the 1st century CE, reflecting the practices that have originated from the past by Polybius.

The masterworks of Bernini and Canova shared similarities along the lines of the sculptors’ works were crafted with precision and a keen eye for detail and were successful in giving their works a realistic effect. Both workers were masters in their own time and were able to manipulate marble to as though they were constructing a painting. They both incorporated classical forms in their works, depicting great scenes from mythical stories that could be viewed in great detail at a 360-degree angle.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

Michelangelo was born on March 6, 1475, at Caprese, in Tuscany and died February 18th, 1564. The second sculpture is of Michelangelo?s David, 1501-1504. Its material is marble, it stands 13' 5" and is currently located at the Galleria dell'Accademia, Florence. Michelangelo's David is based on the artistic discipline of disegno. It is said that under this discipline, sculpture is considered to be the finest form of art because of how it mimics divine creation. Michelangelo worked under the premise that the image of David was already in the block of marble he was working on, in much the same way that the human soul is thought to be found within the physical body (Michelangelo's David). Unlike the David of Donatello, Michelangelo's David is not shown after conquering his enemy. Instead, he is portrayed as an extremely athletic and manly character; the sculpture even depicts a worried look cast upon David?s face and the carved marble veins seem to pulse with anticipation as he contemplates the upcoming fight. Cast over David?s shoulder is his sling, and the stone is

Starting with Bastet, this free-standing statue hails from Late –Ptolemaic Period (664–30 B.C) from Egypt. Medium used was bronze, precious metal and black bronze inlays. The dimensions are H. 5 cm (4 1/8 in.); W. 3.2 cm (1 1/4 in.); D. 3.9 cm (1 9/16 in.). This statuette was donated to the Museum by George and Florence Blumenthal in 1934 and is on view at The Met Fifth Avenue in Gallery 134.

Standing eight feet tall in the Metropolitan Museum of Art, is a marble statue of what is known as a youthful Hercules. Sculpted during the Early Imperial period, with several restorations made in the 17th century, this Roman masterpiece dominates the room with its god-like essence. Chiseled with great detail, Hercules is holding a skinned lion in his left hand while his right hand is gripping a club behind his back. This colorless statue stands with confidence and empowerment, capturing the rhytmos of Hercules’ right after he kills the Nemean beast, transporting the viewer directly to the scene, while at the same time also demonstrating Hercules’ emotional essence. Hercules is built as the ideal man; his physical characteristics, pose, and

From an historical perspective, this piece is an excellent example of early classical Rome. You can sense the respect and admiration that the average Roman citizen had for Augustus, in the fine details of the sculpture.

A man named Borromini would impact Bernini’s life forever. They were both exceptional on sculpting and architectures. In the Baroque era, sculpting was different from the Renaissance time period. Baroque sculptures had more energy in them as if they had a breath of life in them. Each sculptures showed dynamic movements. It was a style drifting away from exaggerations on pieces of the artwork. Learning about Bernini’s approach to sculpting granted me the ability to understand how baroque sculptures contrast to sculptures from the past such as mannerist and high renaissance sculptures. The way Simon Schama describes the details of the sculptures from having a physical presence to being so intense. The reenactments from both Bernini and Borromini allowed me to understand their life and how it affected their artworks. Both being rivals gave them motivation to outbeat the other person. This would lead to a situation where one of them would be the one to design new bell towers at the Cathedral of St. Peter’s. It was Bernini who was chosen, but by trying to exceedingly impress everyone he eventually made a drastic

It is intriguing to notice throughout art history the relationship between the artist and the patron. Many famous and outstanding works of art only exist because of the wealthy patron behind the work. From early renaissance sculpture to baroque style painting, patrons become increasingly interested in commissioning art as a way of exhibiting their great power and influence whilst maintaining an image of poise and regality. Donatello’s Equestrian Monument of Erasmo da Narni, (Gattamelata), (1443-1453) is a bronze sculpture made to commemorate the military accomplishments during Gattamelata’s lifetime. Although the sculpture was constructed after his death, Donatello represents the general as youthful and stern. Anthony van Dyck’s painting, Charles I at the Hunt, 1635, conveys a similar interest in focusing on all the positive aspects of the patron, King Charles the

He made this sculpture in 1408. It was originally made for a spot in the Cathedral, but ended up in the Palazzo Vecchio as the symbol of the defiance of authority of Florentines. The type of style to create this statue was the Gothic style. The statue is currently in the Galleria dell'Accademia, Florence.