IL "DAVID" di Verrocchio -- Leonardo da Vinci come David

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Michelangelo’s David is not the David, but is simply his version of one of the most popular themes of Renaissance Florence.

Many different artists were commissioned to create statues of the Old Testament hero, who was seen as the mascot of Florence.

Young David, like the city of Florence, was small and perceived as weaker than his opponent, Goliath, yet triumphed anyway.

FIRENZE, a city of as few as 20,000 inhabitants in the mid-16^th century wished to be seen by others as small but mighty.

The David statues were meant as a warning to potential Goliaths.

Verrocchio is now best known as the teacher of Leonardo, an honorable but insufficient legacy for this genius of sculpture.

Although understated, this sculpture is perhaps his masterpiece.

Its direct inspiration would have been a bronze David by Donatello (1440), also on display at the Bargello.

To see first Donatello’s (he made two, one in bronze and one in marble, both very different and both on display at the Bargello), then Verrocchio’s, then Michelangelo’s, one has a sense of the artistic tradition passed down through generations.

Each artist tries his hand at the subject of his predecessor, simultaneously paying homage and trying to outdo the past master.

Verocchio
David
(1475)
Museo del Bargello
While Donatello’s David is cocky and pleased with himself for having slain Goliath, and Michelangelo’s David is nervous but determined, shown before the fight begins, Verocchio’s David carries the most complex emotion in his bronze face.

Verrocchio’s David is, physically, a slight and effeminate 14 year old.

Leonardo da Vinci is assumed to have modelled for this statue.

In contrast with Donatello’s slightly lumpy 12 year old and Michelangelo’s idealized athletic 18 year old.

Verrocchio’s David has slain and beheaded Goliath, and has been standing triumphant over the head, much as Donatello’s David does.

But the expression of Verrocchio’s is infinitely more subtle and complex.

Study it carefully.

You will see in his face that he has been smiling broadly.

But a thought has just occurred to him, to break him of his childish pride.

The weight of his triumph is just dawning on him.

The forecast of his future as King of Israel, and the burden of leadership that will fall upon his fragile, young shoulders.

That moment of revelation of import after a care-free smile is captured in bronze by the brilliance of Verrocchio.

 Look upon this sculpture, and you will feel that Verrocchio should not merely be known as Leondardo’s teacher but, that Leonardo should be referred to as Verrocchio’s pupil.

Donatello's "David"

Michelangelo's "David'

Tags: bargello, donatello david, michelangelo david, noah charney, secret history of art, verrocchio, verrocchio david