I got my first taste of David (a copy) while on temporary duty in Italy for the US military. I took advantage of my time there and visited Florence. I was unaware of the impact it would have on my fascination with Italian history. I went to Piazza della Signoria (Florence) and was amazed and the various statues within the plaza. I did not know many of the artists but I knew David. I enjoyed my time and soaked in as much as I could, not knowing if I’d ever have another chance to see it. Two years later I was blessed with the opportunity to live in Italy (thanks Uncle Sam). I took full advantage and lived on the economy (off base) among Italians. My neighbor, Gaetano Lamonaca, like so many there, welcomed me with various gifts of friendship, wine, bread and a book. It wasn’t often I received a book. But Gaetano was a painter and he was (still is) proud of his country and its history, especially its artistic culture. The book was Essential Michelangelo. I still have it. The book gave me not only a hint of who the artist, Michelangelo, was but it was Gaetano’s way of saying, “Here. Here’s your flyer for what’s in Italy. E vai!! Vai!!” Now, I say, “Grazie, Gaetano.”
I have to admit, I wasn’t sure where this course would take me. From what I’ve read and seen so far it has given me a better understanding and deeper appreciation of both Italian and Northern portions of the Renaissance period. Somewhere between the 1300s and 1600s the Western world underwent a transformation. An astonishing surge of artistic and cultural revolution seemed to have done in a medieval civilization and took European culture into a new era. This was the Renaissance era. Renaissance means “rebirth”. A rebirth of a symbolic natured culture of the medieval minds, a rediscovery by intellectuals (known as Humanists) of ancient Greeks and Romans writings and concepts. It was a time for innovation for artists, architects, and scientist. The liberation of politics and religion. The Renaissance pioneers left religious traditions of medieval times and paved the way for creative artists such as Botticelli, Michelangelo, and Ghiberti to change the way the world was seen. These Renaissance artists developed techniques of painting with oils and using perspective, to bring emotion, life and a true sense of realism to their subjects.
David. Michelangelo di Lodovico Buonarroti Simoni, 1504
So, is it difficult to conclude that one such creation that comes to mind as a perfect example of this era of transformation would be Michelangelo’s David? The commission of David by was intended to be a statue of the proud slayer of Goliath but instantly became a symbol of the city, a symbol of Florentine freedom. A religious sculpture set to be placed on the Cattedrale di Santa Maria del Fiore, the main church of Florence at the time, David became a civic symbol. It was a time of instability between the people of the city and previous ruling family, the Medici. The Medici were seen as antagonists and were forced out of Florence. The Florentines embraced the David as a symbol of their (underdog) own fight with the Medici (Goliath). So, in 1504 the people determined that Michelangelo’s David would better be suited in a much more viewable place, the main piazza of Florence.
Though Michelangelo is recorded, within his poetry, as complaining about misuse of power and double standards by those in authority, often the Medici. The artist probably owes his guidance of his talent to the Medici. It was Lorenzo de Medici that encouraged and funded his education when Michelangelo was 13 years old. It wasn’t only the Michelangelo that the Medici saw potential and talent. They were the patrons of the arts, architecture and science. The Medici’s vision and money created a cultural movement that pulled Europe out of the Dark Ages ravaged by war and a plague into a fresh world overflowing with humanistic thought and inspiration.
Works Cited:
Accademia.org. Accademia Gallery in Florence. http://www.accademia.org/explore-museum/artworks/michelangelos-david/facts-about-david/
Bradbury, Kirsten. Essential Michelangelo. New York: Parrogon, 2000.
ItalianRenaissance.org, “Michelangelo’s David,” in ItalianRenaissance.org, June 28, 2012, http://www.italianrenaissance.org/michelangelos-david/
Stone, Irving. The Agony and the Ecstasy: A Biographical Novel of Michelangelo. Doubleday. 1961.
robertituarte 
I really liked the way you incorporated the Medici influences into your post. I love how you talked about how the people of Florence embraced their city’s symbol and it was then placed in a more viewable place. I think that really says a lot about how the city was able to come together and be able to feel connected after being so unstable with their previous ruler. I liked reading about your experience in Italy and with the statue David. I also got to see it up close and personal, and I have to say it is so much easier to appreciate the art when you see it in person than over a computer screen. I love this statue, and I thought you did a great job in your post talking about its history and its connection to the Medici influence. I also really like the video provided in your sources, I think it tells the story of David really well. I like their comment on how David looks like he has just caught site of the enemy, and is about to meet Goliath.
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