Interpretation
Michelangelo's David differs from previous representations of the subject in that the Biblical hero is not depicted with the head of the slain Goliath, as he is in Donatello's and Verrocchio's statues. Most scholars consider that the work depicts David before his battle with Goliath. Instead of appearing victorious over a foe much larger than he, David's face looks tense and ready for combat. The tendons in his neck stand out tautly; the muscles between his upper lip and nose are tight; his brow is furrowed; and his eyes seem to focus intently on something in the distance. Veins bulge out of his lowered right hand, but his body is in a relaxed contrapposto pose, and he carries his sling casually thrown over his left shoulder.
The pose is unlike that of any earlier David; Donatello and Verrocchio had both represented the hero standing victorious over the head of Goliath, and Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his feet, but no earlier Florentine artist had omitted the giant altogether. The contrast between his intense expression and his calm pose perhaps suggests that David is represented after he has made the decision to fight Goliath but before the battle has actually taken place. The majority of his weight is on his back leg, staying consistent with the Renaissance practice of depicting its subjects in recoiled, calm positions, just prior to action. It is a representation of the moment between conscious choice and conscious action.
Michelangelo's David is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude. In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. In David, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the head turns to the left while the left arm is raised to his left shoulder with his sling flung down behind his back. Michelangelo’s David has become one of the most recognized works of Renaissance sculpture, becoming a symbol of both strength and youthful human beauty.
It was the colossal size of the statue that impressed Michelangelo's contemporaries, however. Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed every ancient colossal statue he had ever seen, concluding that Michelangelo's work excelled "all ancient and modern statues, whether Greek or Latin, that have ever existed." The proportions of the David are atypical of Michelangelo's work; the figure has an unusually large head and hands (particularly apparent in the right hand). These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture would necessarily be accentuated in order to be visible from below.
The statue is unusually slender (front to back) in comparison to its height. This may be the result of the work that had been done on the block before Michelangelo began carving it.
It is possible that the David was conceived as a political statue before Michelangelo began to work on it. Certainly David the giant-killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there. Donatello's bronze David, made for the Medici family, perhaps c. 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city. By placing Michelangelo's statue in the same general location, the Florentine authorities ensured that David would be seen as a political parallel as well as an artistic response to that earlier work.
Commentators have noted David's uncircumcised penis, which is at odds with modern Judaic practice, but is considered consistent with the conventions of Renaissance art.
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