https://baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/David/Michelangelo_s_David_-_right_view_2.jpg 14abde806d197b51c1a47c50e009f529 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Creator An entity primarily responsible for making the resource Michaelangelo Source A related resource from which the described resource is derived “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Publisher An entity responsible for making the resource available Michelangelo’s David was carved from 1501 to 1504. The statue stands at about 5.5m tall. The marble block used by Michelangelo to carve David had initially been partially used by artists Agostino di Duccio and Antonio Rossellino in the 15th century. Originally commissioned for the cathedral of Florence, the sculpture was ultimately put on the Palazzo Vecchio by the government of Florence. It currently sits in the Accademia [1]. David is thought to be depicted in a moment before the battle. He appears focused with a warning gaze to the right. He is nude and carries his sling over his shoulder in preparation to fight Goliath. David stands upright with a tilt in contrapposto. This pose, iconic to the Renaissance era, signals to the viewer that while David is standing still, he awaits uncertainty and will soon move. The uncertainty and potential for motion is novel in comparison to other major sculptures of David that came from artists prior to Michelangelo, such as Donatello - in Donatello’s depiction, David stands victorious. Michelangelo’s David shows themes iconic to the renaissance, with his realism of proportions and anatomy, depiction of drapery and history, and contrapposto [2]. Though Michelangelo does depart from the stillness and certainty in previous sculptures, Bernini captures the antithesis of these qualities. Both Bernini and Michelangelo embrace tension and uncertainty, but Bernini couples this with capturing motion. With the large scale of Michelangelo’s David and placement atop a high pedestal, paired with the stillness and upright nature of the composition, the viewer is not a part of David's scene. Instead, the viewer looks up his figure, almost in admiration. Contrastingly, Bernini’s life size sculpture places the user into the scene and motion unfolding, as does Rubens’ painting. Having been completed a century before Bernini's David, Michelangelo's David shows a prior ideal for the medium of sculpture. This comparison shows how Bernini stands out in uniting visual art media by capturing characteristics of paintings in his sculpture. [1] “David.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed December 2, 2021. https://www.britannica.com/topic/David-sculpture. [2] Keizer, Joost. “Giuliano Salviati, Michelangelo and the 'David'.” The Burlington Magazine 150, no. 1267 (October 2008): 664–68. https://www-jstor-org.proxy.lib.duke.edu/stable/40479899?pq-origsite=summon&seq=1#metadata_info_tab_contents. Date A point or period of time associated with an event in the lifecycle of the resource 1501-1504 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource 5.5 m Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia, Florence, Italy