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| Michangelo's David |
Loveland, Colorado, is noted for its sculpture park. In addition to displaying a few pieces of statuary throughout the grounds, annual art shows and sales are held there and have proved to be both popular and profitable. Unfortunately, a number of very righteous citizens complained. Apparently, there was one statue depicting a mother holding her child that they considered to be obviously obscene and a corrupting influence upon the youth of Loveland. Despite the fact that the statue was not highly detailed because the artist stylized it through simplified lines, the statue was removed and placed in a far corner of the park, unfrequented by most visitors.
Apparently, these events are just more symptoms of skewed concerns and perhaps even rampant insanity in America. “Of course, I realize that God abhors human nudity. That is why we are born fully clothed and without genitals.” I did not find this to be so in many of the older, more mature countries that I have visited in the past.
I not only appreciate all forms of beauty including sculpture and the human form, I, of course, am referring to the most admired examples of the human form, not those images that I receive on-line showing Wal-Mart shoppers in Tennessee.
Actually on the contrary, sane theology scholars (including relatively recent statements by Pope John Paul II) make quite clear that nudity in Christian art is acceptable when purposeful, done so with an element of philosophical modesty, and not solely to cater to the prurient interests and desires of the viewers.
Personally, I would have to have a brain of a brick and a heart of stone not to perceive the physical beauty in the David statues of both Michelangelo and Donatello. I realized that, long ago, that David had become somewhat of a gay icon, an archetypal form of beauty often found in cheap, miniature imitations displayed in apartments and homes. I had the good fortune to admire both in their original forms.
Michelangelo’s Renaissance masterpiece was created between the years 1501 and 1504. The fact that it originally was destined to be but one among a series of monumental statues to be placed along the roofline of the Florence Cathedral accounts for its seventeen-foot size. The statue was placed instead in the public square near the seat of civic government and later into the Accademia Gallery. The strong, athletic build of this David, along with the steady gaze of his eyes, became to symbolize the strength of the Florentine city-state and a warning to stronger, contiguous cities. The fact that this David also resembles a young, Greek god, does not hurt its aesthetic value either.
What a different response Donatello’s David provides us. This is no macho David, reliant upon his own physical power to vanquish the giant Goliath. On the contrary, had Goliath captured David, Goliath might have been more prone to bed young David than to slay him. If they had lived during Florentine times, this most likely would have been the outcome, and not to anyone’s surprise.
Donatello’s David was created in bronze somewhere between the years of 1430 and 1460. This five-foot bronze with gilt accents is said to be the first fully nude, male statue since the Greco-Roman times, although David’s wearing a cute hat and boots are anomalous. Viewers with admirable sensibilities cannot help but admire this astonishing, artistic creation. One would have to be a real “Bible-thumper” or a member of the Dallas School Board to be outraged and disgusted by this work of art.
Admittedly however, there are some aspects of this David that might create confused feelings in male viewers, and quite possibly extremely disturbed feelings among homophobes. To begin with, it is an understatement that one can not claim this David to be “macho” and physically powerful. On the contrary, this adolescent, male form is notably androgynous, even to some degree feminine, and peculiarly sensuous. Why so?
For the casual observer who has a rudimentary knowledge of Florentine history, one might conclude that this high degree of sexual sensuality merely reflects the pervasive tastes of the population at that time. There is more truth to this than many people realize. Sexual attraction and relations with young men were so prevalent that one cannot declare the practicing population to have been a “sub-culture.” One might almost conclude that they were the culture of the time. But, could there have been a symbolized message within Donatello’s statue beyond the possible homoerotic interests of the artist and the person who commissioned the work?
I suggest that it does not take a Tom Hanks to figure out the meaning of the statue. To begin with, young David did not rely upon his own powers and physical strength to vanquish the giant Goliath, nor was a single stone aimed at Goliath from some distance a sure thing. Art historians state that, quite possibly, Donatello was expressing the belief that the power of God slew Goliath, not the physical prowess of an ephebe.
But why the sensuality, and that silly hat, and those little booties? And even more so, why is there a long feather from Goliath’s helm riding up David’s thigh? And what about that soft tuft of Goliath’s beard wrapped about David’s toes?
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| Donatello's David |
So, what response does each, individual viewer derive from these nude statues? Are these Davids simply expressions of Christian themes? Or, is it that some people simply regard these statues as just rather sexy ?
© 08 April 2011
About the Artist
