"and 16th centuries, including works by Paolo Uccello, Domenico Ghirlandaio, Sandro Botticelli and Andrea del Sarto; and, from the High Renaissance, Giambologna's original full-size plaster modello for the ""Rape of the Sabine Women"". As well as a number of Florentine Gothic paintings, the gallery houses the collection of Russian icons assembled by the Grand Dukes of the House of Lorraine, of which Leopoldo was one. Galleria dell'Accademia The Galleria dell'Accademia di Firenze, or ""Gallery of the Academy of Florence"", is an art museum in Florence, Italy. It is best known as the home of Michelangelo's sculpture ""David"". It also has"
"Museum in London also owns a plaster cast of Verrocchio's David. David (Verrocchio) Andrea del Verrocchio's bronze statue of David was most likely made between 1473 and 1475. It was commissioned by the Medici family. It is sometimes claimed that Verrocchio modeled the statue after a handsome pupil in his workshop, the young Leonardo da Vinci. The statue represents the youthful David, future king of the Israelites, triumphantly posed over the head of the slain Goliath. The bronze was initially installed in Palazzo Vecchio in 1476. Placement of Goliath's head has been a source of some debate for art historians."
"its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Franca Falleti, senior restorers Monica Eichmann and Cinzia Parnigoni undertook the job of restoring the statue. In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble. ""David"" has stood on display at Florence's Galleria dell'Accademia since 1873. In addition to the full-sized replica occupying the spot of the original in front of the Palazzo Vecchio, a bronze version overlooks Florence from"
"David (Verrocchio) Andrea del Verrocchio's bronze statue of David was most likely made between 1473 and 1475. It was commissioned by the Medici family. It is sometimes claimed that Verrocchio modeled the statue after a handsome pupil in his workshop, the young Leonardo da Vinci. The statue represents the youthful David, future king of the Israelites, triumphantly posed over the head of the slain Goliath. The bronze was initially installed in Palazzo Vecchio in 1476. Placement of Goliath's head has been a source of some debate for art historians. When exhibited at the National Gallery of Art, the head was"
"placed between David's feet, as is the case in the statue's permanent home, the National Museum of the Bargello, in Florence, Italy. Another school of art historians have suggested that Verrocchio intended for Goliath's head to be placed to David's right, pointing to the diagonals of the ensemble. This placement was temporarily arranged at the National Gallery of Art, as well as Atlanta's High Museum, among others. David was intended as a representation of Florence, as both were more powerful than they appeared, and both the shepherd boy and Florence could be viewed as rising powers. The Victoria & Albert"
"damaging the toes of the left foot, he was restrained. On 12 November 2010, a fiberglass replica of the ""David"" was installed on the roofline of Florence Cathedral, for one day only. Photographs of the installation reveal the statue the way the ""Operai"" who commissioned the work originally expected it to be seen. In 2010, a dispute over the ownership of ""David"" arose when, based on a legal review of historical documents, the municipality of Florence claimed ownership of the statue in opposition to the Italian Culture Ministry, which disputes the municipality claim. In the mid 1800s, small cracks were"
"among others, believed that, due to the imperfections in the marble, the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria; the other group thought it should stand at the entrance to the Palazzo della Signoria, the city's town hall (now known as Palazzo Vecchio). Another opinion, supported by Botticelli, was that the sculpture should be situated on or near the cathedral. In June 1504, ""David"" was installed next to the entrance to the Palazzo Vecchio, replacing Donatello's bronze sculpture of ""Judith and Holofernes"", which embodied a comparable theme of heroic resistance. It"
"Hercules and Cacus Hercules and Cacus is a white sculpture to the right of the entrance of the Palazzo Vecchio in the Piazza della Signoria, Florence, Italy. This work by the Florentine artist Baccio Bandinelli (1525–1534) was commissioned as a pendant to David, which had been commissioned by the republican council of Florence, under Piero Soderini (""gonfaloniere"" for life), to commemorate the victory over the Medici. The ""colossus"" (height: 5.05 m) was originally given to Michelangelo and meant to complement the ""David"" but later appropriated by the Medici family as a symbol of their renewed power after their return from"
"David (inspired by Michelangelo) David (inspired by Michelangelo) is a sculpture by Turkish conceptual artist Serkan Özkaya. It is a reproduction of Michelangelo's ""David"" made of gold-painted foam, twice the size of the original, and based on a computer model by Stanford University professor Marc Levoy. It was originally created for the 9th International Istanbul Biennial in 2005, and took six people six months to build, but it collapsed during installation. The statue was restored and two copies were cast at a workshop in the Turkish city of Eskişehir. One of them will be displayed at a park in Eskişehir."
"David (Donatello) David is the title of two statues of the biblical hero David by the Italian early Renaissance sculptor Donatello. They consist of an early work in marble of a clothed figure (1408-09), and a far more famous bronze figure that is nude between its helmet and boots, and dates to the 1430s or later. Both are now in the Museo Nazionale del Bargello in Florence. The story of David and Goliath comes from 1 Samuel 17. The Israelites are fighting the Philistines, whose best warrior – Goliath – repeatedly offers to meet the Israelites' best warrior in man-to-man"
"noticed on the left leg on ""David"" which can possibly be attributed to an uneven sinking of the ground under the massive statue. The pose of Michelangelo's ""David"" is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath, and the painter 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. According to Helen Gardner and other scholars, David is depicted before his battle with Goliath. Instead"
"and fell on 27January 1601 but was reconstructed in 1602. In the early 1470s he made a voyage to Rome, while in 1474 he executed the Forteguerri monument for the Cathedral of Pistoia, which he left unfinished. A bronze statue of ""David"" was commissioned by Piero de'Medici. On grounds of style and technique it was dated by Butterfield to the mid-1460s; he considered it a masterpiece of Verrocchio's early career. It was purchased by the Signoria of Florence from his heirs Lorenzo and Giuliano de' Medici in 1476 and is now at the Bargello in Florence. Verrocchio's David is a"
"it had 1,461,185 visitors, making it the second most visited art museum in Italy, after the Uffizi (2.02 million). The Galleria dell'Accademia was founded in 1784 by Pietro Leopoldo, Grand Duke of Tuscany. In 2001 the ""Museo degli strumenti musicali"" collection opened. It includes musical instruments made by Stradivarius, Niccolò Amati, and Bartolomeo Cristofori. The Galleria dell'Accademia has housed the original ""David"" by Michelangelo since 1873. The sculpture was allegedly brought to the Accademia for reasons of conservation, although other factors were involved in its move from its previous outdoor location on Piazza della Signoria. The original intention was to"
"the positioning of Michelangelo’s the statue David in Piazzale Michelangelo in 1875. The piece shows important figures of Florentine society gathered to honour the great renaissance artist, among them Peruzzi. Following a similar theme, in 1899 Raffaello completed the bronze of the Marquess Cosimo Ridolfi, which stands in Piazza Santo Spirito in Florence. The Marquess was an agronomist and politician, deemed one of the most learned Tuscan men of his era, heralded as the man responsible for spreading modern agriculture in Italy. In 1829 he had founded the Municipal Savings Bank of Florence and was president of the historic Accademia"
"famous, athletic and youthful figure in the Piazza della Signoria by the same sculptor. Instead of displaying the potential force and inward wrath of the biblical hero, it reads as almost melancholy or remorseful for his bloody action against Goliath if that be his head, perhaps revealing all consequences of the action. Another interpretation is that the pose could express a veiled, but deep animosity by the sculptor against the conquerors of Florence, although work on the statue stopped with the change. Apollo (Michelangelo) The Apollo, Apollo-David, David-Apollo, or Apollino is a 1.46 m unfinished marble sculpture by Michelangelo that"
"Apollo (Michelangelo) The Apollo, Apollo-David, David-Apollo, or Apollino is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence. The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with"
"the Piazzale Michelangelo. The plaster cast of ""David"" at the Victoria and Albert Museum has a detachable plaster fig leaf which is displayed nearby. Legend claims that the fig leaf was created in response to Queen Victoria's shock upon first viewing the statue's nudity, and was hung on the figure prior to royal visits, using two strategically placed hooks. ""David"" has often been reproduced, in plaster and imitation marble fibreglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach resorts, gambling casinos and model railroads. David (Michelangelo) David is a masterpiece of"
"nudes in Italian Renaissance art. There are no indications of contemporary responses to the ""David."" However, the fact that the statue was not placed in the town hall of Florence in the 1490s indicates that it was viewed as controversial. In the early 16th century, the Herald of the Signoria mentioned the sculpture in a way that suggested there was something unsettling about it: ""The David in the courtyard is not a perfect figure because its right leg is tasteless."" By mid-century Vasari was describing the statue as so naturalistic that it must have been made from life. However, among"
"David with the Head of Goliath (Caravaggio, Vienna) David with the Head of Goliath, c. 1607, in the Kunsthistorisches Museum Gemäldegalerie, Vienna, is a painting by the Italian artist Caravaggio (1571–1610). Peter Robb believes it to have been acquired by the conde de Villamediana in Naples between 1611 and 1617, as Giovanni Bellori records Villamediana as having returned to Spain with a half-figure of David by Caravaggio. Caravaggio also treated this subject in a work currently in the Galleria Borghese, Rome, and in an early work dated c. 1600 in the Prado in Madrid. The exact moment depicted appears to"
"in the main rotunda of the west wing of the National Gallery of Art in Washington D.C.. This temporary tenure marked the first time the antiquity had left Italy since it was returned in the second decade of the nineteenth century. Copies of the statue (itself a copy) can be seen in the Museum of Classical Archaeology at Cambridge University, Leinster House in Dublin, Ireland, as well as in Berlin, Prague, Stockholm, Versailles, Warsaw (Royal Baths Park). In the United States, copies are at the Washington State Historical Society in Tacoma, Washington, at the Redwood Library, Newport, Rhode Island, and"
"a ""Bacchus"" of Baccio Bandinelli, a work of Andrea Sansovino, and an old ""Ganymede"" that had been restored by Benvenuto Cellini. Hallmarks of his style and methods exist on the unfinished work that support the attribution of the statue to Michelangelo. The subject of the unfinished statue was never noted by Michelangelo, however, and contemporary historical sources disagree about the subject. According to Vasari it is an ""Apollo"", perhaps in the act of taking an arrow from a quiver. In the inventory of Cosimo I of 1553, however, it is identified as, ""David"", by whoever drew up the historic catalogue."
"The 1926 reconstruction differs substantially from the earlier reconstructions and has been described as problematic. Michelangelo's David was the museum's first major cast of Italian figure sculpture. It was acquired in 1857 when it was sent as a gift from the Grand Duke of Tuscany to Queen Victoria — apparently in an attempt to placate English anger at his refusal to allow the National Gallery to export Domenico Ghirlandaio's ""Madonna Enthroned"". The gift was entirely unexpected and the Queen promptly gave the cast to the then South Kensington Museum which is now the Victoria and Albert Museum. In the reign"
"David and Goliath (Caravaggio) David and Goliath (or ""David with the Head of Goliath"" or ""David Victorious over Goliath"") is a painting by the Italian Baroque master Caravaggio (1571–1610). It was painted in about 1599, and is held in the Museo del Prado, Madrid. Two later versions of the same theme are currently to be seen in Kunsthistorisches Museum, Vienna (""David with the Head of Goliath""), and in Rome's Galleria Borghese (""David with the Head of Goliath""). The ""David and Goliath"" in the Prado was painted in the early part of the artist's career, while he was a member of"
"copy in 1988 and the original, after restoration, was given a final place in the Sala dei Gigli inside the Palazzo Vecchio. Judith and Holofernes (Donatello) Judith and Holofernes (1457–1464) is a bronze sculpture created by the Italian Renaissance sculptor Donatello at the end of his career. It can be seen in the Hall of Lilies (Sala dei Gigli), in the Palazzo Vecchio, Florence, Italy. A copy stands in one of the sculpture's original positions on the Piazza della Signoria, in front of the Palazzo Vecchio. It depicts the assassination of the Assyrian general Holofernes by Judith and is remarkable"
"David with the Head of Goliath (Massimo Stanzione) Massimo Stanzione's David with the Head of Goliath is exhibited at the San Diego Museum of Art. In 1947, Mrs. Harry Turpin gifted a Stanzione original painting titled ""David With the Head of Goliath"" to the Fine Arts Gallery of San Diego (now the San Diego Museum of Art); the work was then attributed to Ribera, but was reattributed to Stanzione by Mario Modestini in 1951, an attribution confirmed by Schleier, Felton, Zeri, and Spinosa. The painting is dated to approximately 1630. Caravaggio was an important influence in Stanzione’s artistic style and"
"de' Medici, the foremost art patron of his era, commissioned from Donatello the bronze ""David"" (now in the Bargello) for the court of his Palazzo Medici. This is now Donatello's most famous work, and the first known free-standing nude statue produced since antiquity. Conceived fully in the round, independent of any architectural surroundings, and largely representing an allegory of the civic virtues triumphing over brutality and irrationality, it is arguably the first major work of Renaissance sculpture. Also from this period is the disquietingly small ""Love-Atys"", housed in the Bargello. Some have perceived the ""David"" as having homo-erotic qualities, and"
"and dated between about 1461 to 1479. The earliest reference to the sculpture is in the private records of Luigi d'Ugolino Martelli (Ugolino's grandfather), in an inventory of his possessions begun in 1488. It is now in the National Gallery in Washington D.C. The David was a traditional symbol of the Florentine freedom, and could be an allusion to Martelli adherence to the city's Republican party. On the scholar's worktable a copy of Homer's ""Iliad"", in Greek, can be seen turned towards the reader. It is open at the beginning of the ninth book, the ""Embassy to Achilles"". A second"
"Medici family in the 1430s to be placed in the centre of the courtyard of the old Medici Palace. Alternatively it may have been for that position in the new Palazzo Medici Riccardi, where it certainly was placed later, which would place the commission in the mid-1440s or even later. The statue is recorded there by Vasari and other sources. The Medici family were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble ""David"" was already in the palazzo). It was moved to the Palazzo Pitti in the 17th"
"by the contrasting positions of the arms. Michelangelo's ""David"" has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty. Just the colossal size of the statue impressed Michelangelo's contemporaries. Vasari described it as ""certainly a miracle that of Michelangelo, to restore to life one who was dead,"" and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed ""all ancient and modern statues, whether Greek or Latin, that have ever existed."" The proportions of the ""David"" are atypical of"
"may be a result of the work 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 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"
"(the work of the Florentine, Donatello). In 1495, the sculpture was placed on the Piazza della Signoria, at the side of main door the Palazzo Vecchio, in memory of the expulsion of Piero di Lorenzo de' Medici from Florence and the introduction of the Florentine republic under Girolamo Savonarola. This time, this statue symbolized the expulsion of the tyrannical Medici. The statue was later moved to the courtyard inside the Palazzo Vecchio, and still later into the Loggia dei Lanzi. In 1919, it was then placed on the left side of the Palazzo Vecchio. It was replaced by a bronze"
"in Florentine society without expressing Donatello's personal tendencies. However, during the time of the Renaissance, when the statue was created, sodomy was illegal, and over 14,000 people had been tried in Florence for this crime. So this homosexual implication was very risky and dangerous. A third interpretation is that ""David"" represents Donatello's effort to create a unique version of the male nude, to exercise artistic license rather than copy the classical models that had thus far been the sources for the depiction of the male nude in Renaissance art. The traditional identification of the figure was first questioned in 1939"
"of the most dramatic parts of the museum is the Cast Courts in the sculpture wing, comprising two large, skylighted rooms two storeys high housing hundreds of plaster casts of sculptures, friezes and tombs. One of these is dominated by a full-scale replica of Trajan's Column, cut in half to fit under the ceiling. The other includes reproductions of various works of Italian Renaissance sculpture and architecture, including a full-size replica of Michelangelo's ""David"". Replicas of two earlier Davids by Donatello and Verrocchio, are also included, although for conservation reasons the Verrocchio replica is displayed in a glass case. The"