Michelangelo’s David is a full revival of Greek mature
classical expression in optical naturalism, emotional expression and perfect
formal balance. As can be seen through the centuries-long development of Greek
expression from geometric patterning (Lefkandi
Centaur and Dipylon Krater),
through burgeoning though stiff naturalistic expression (uncounted Kouri), to the height of naturalistic idealism
of the fifth and sixth centuries bc, David
taps into the ancient Greek spirit and rational Humanism without flaw.
David is in a casual state of standing relaxation, with a contrasting expression of concentration. Formally, his slightly exaggerated contrapposto pose strikes perfect balance in motion and weight. In a formal facsimile of Praxiteles’ Doryphoros, the tension of his right leg and relaxation of his left is reversed in his arms, where his left is weight-bearing and right hangs free. This energy is again reversed with the right-to-left orientation of his head and mind.
A detail of mastery in this work is the naturalistic texturing of musculature in a state of tension or relaxation. Another is the perfect modelling of forms. When combined with texturing, very subtle surface details and blended value gradients form as a result. Energy is graceful and controlled. David is dominated by harmonies in the appearance and proportion of masses, calm formal and conceptual tension between action and static qualities, and the before-mentioned treatment of texture.
David is taking on an impossible challenge. His opponent, a professional killer, over matches him physically and in skill. By preparing for this conflict without armor, and a meek weapon with a single stone, he seems to understand in this moment of doubt that in order to win, he must not engage Goliath’s strengths, but find another path. I believe Michelangelo captures the exact moment David realizes what he must do and is mentally preparing.
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