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David and Goliath in Carrara marble - Tuscany - Circa 1500
David and Goliath in Carrara marble - Tuscany - Circa 1500 - Sculpture Style Renaissance David and Goliath in Carrara marble - Tuscany - Circa 1500 - David and Goliath in Carrara marble - Tuscany - Circa 1500 - Renaissance Antiquités - David and Goliath in Carrara marble - Tuscany - Circa 1500
Ref : 77546
SOLD
Period :
<= 16th century
Provenance :
Florence, Tuscany, Italy
Medium :
Carrare marble
Dimensions :
l. 15.75 inch X H. 29.53 inch
Sculpture  - David and Goliath in Carrara marble - Tuscany - Circa 1500 <= 16th century - David and Goliath in Carrara marble - Tuscany - Circa 1500 Renaissance - David and Goliath in Carrara marble - Tuscany - Circa 1500 Antiquités - David and Goliath in Carrara marble - Tuscany - Circa 1500
Galerie Alexandre Piatti

Works of art, sculptures and furniture Haute Epoque


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David and Goliath in Carrara marble - Tuscany - Circa 1500

This elegant Carrara marble sculpture features one of the most famous veterotesting episodes, the battle to the death between the young David, future king of Israel, and the giant Goliath (Samuel I). Theological studies attribute to this story a typological link with Christ's victory over evil in the New Testament, the little winner over the big vanquished. In a similar logic, Florence, and the Medicis, made David their symbol, because of their opposition to powerful cities and families.

Moreover, this episode is particularly appreciated by Renaissance artists because it is an opportunity to represent a young, handsome and vigorous man, in the style of antic works, a major source of inspiration at that time. Indeed, this statue shows a young and robust David with protruding muscles. He firmly holds a slingshot and a stone, the instruments that allowed him to win against the giant whose livid head rests on the ground in front of his right foot. David is represented as an ephebe with a straight nose and elongated neck, embodying the ideal of classic beauty. The artist manages to transcribe a dynamic and stable pose, marked by a stretched leg carrying the weight of the body and the other slightly bent, creating a contrapposto.

The sensitivity and grace rendered by the sculptor embody the expression of the inimitable Dolce style, from the second half of the Quattrocento in Italy. The artist's work is part of the heritage of Florentine sculptors, such as Verrocchio and later Antonio Rosselino.

This work is therefore very characteristic of the virtuosity of the Tuscan Renaissance artists who strove to renew plastic production through the combination of a strong Christian classical tradition and the nascent rediscovery of the ancient.

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Galerie Alexandre Piatti

CATALOGUE

Marble Sculpture Renaissance