Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: When did Michelangelo sculpt the David?
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. David is a 5.17-metre (17.0ft)[lower-alpha 1] marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence.[1]
With the completion of the David came another commission. In early 1504 Leonardo da Vinci had been commissioned to paint The Battle of Anghiara in the council chamber of the Palazzo Vecchio, depicting the battle between Florence and Milan in 1440. Michelangelo was then commissioned to paint the Battle of Cascina. The two paintings are very different: Leonardo depicts soldiers fighting on horseback, while Michelangelo has soldiers being ambushed as they bathe in the river. Neither work was completed and both were lost forever when the chamber was refurbished. Both works were much admired, and copies remain of them, Leonardo's work having been copied by Rubens and Michelangelo's by Bastiano da Sangallo.[32]
The Michelangelo phenomenon is a phenomenon observed by psychologists in which interdependent individuals influence and "sculpt" each other (opposite of Blueberry phenomenon, in which interdependent individuals bring out the worst qualities in each other). Over time, the Michelangelo effect causes individuals to develop toward what they themselves consider as their "ideal selves".
For example, in a close relationship, "because John affirms Mary's ideals, Mary increasingly comes to resemble her ideal self".
Hakim has four children. Plays the clarinet and records his music. Portrait sculptor and winner of the Baron's Prize, Medical Art Society 2016. In addition, Hakim reproduced Michelangelo Buonarroti’s "David" which is part of the Madonna del Parto Museum collection; in 2013 made a bust of Queen Elizabeth II; in 2014 unveiled a bronze bust he sculpted of Prime Minister David Cameron at the Carlton Club in London. The sculpture had been sold at an auction to Alexander Temerko, a British-Ukrainian businessman, for £90,000, which was donated to the Carlton Club.
Márton Váró primarily uses Carrara marble as the medium for his sculptures; however, he also works with other stones, such as Texas limestone, which was the material of choice for the "Angels" at the Bass Performance Hall in Ft. Worth, Texas. He is noted for his life-size sculptures, which are figurative in nature. His sculptures often depict draped female figures, often emerging from the block of stone from which they are carved. His approach to sculpting is true to classic form, carving directly into the marble or stone, as did the masters like Michelangelo—in fact, Varo's marble comes from the same quarry in Carrara, Italy as did Michelangelo's. The facade of the Ave Maria Oratory church features Váró's 30-foot-tall sculpture of the Annunciation, depicting the Archangel Gabriel greeting the Virgin Mary with the words "Ave Maria" (Hail Mary), with his smaller depiction of Christ the Good Shepherd featured inside.
The phenomenon was named after the Italian Renaissance painter, sculptor, architect, poet and engineer Michelangelo (1475–1564) who is said to have thought of sculpting as a process of revealing and uncovering the figures hidden in stone. The term was introduced in 1999 by the US psychologist Stephen Michael Drigotas ("et al")."
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.
A famous example by Michelangelo was carved from a block of marble and is located in St. Peter's Basilica in the Vatican City. The body of Christ is different from most earlier pietà statues, which were usually smaller and in wood. The Virgin is also unusually youthful, and in repose, rather than the older, sorrowing Mary of most pietàs. She is shown as youthful for two reasons; God is the source of all beauty and she is one of the closest to God, also the exterior is thought as the revelation of the interior (the virgin is morally beautiful). The "Pietà" with the Virgin Mary is also unique among Michelangelo's sculptures, because it was the only one he ever signed, upon hearing that visitors thought it had been sculpted by Cristoforo Solari, a competitor. His signature is carved as "MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T]" "Michelangelo Buonarroti the Florentine did it".
In a lesser known Michelangelo pietà, "The Deposition", it is not the Virgin Mary who is holding Jesus' body, but rather Nicodemus (or possibly Joseph of Arimathea), Mary Magdalene, and the Virgin Mary. There is some indication that the man in the hood is based on a self-portrait of the artist. The sculpture is housed in the Museo dell'Opera del Duomo in Florence and is also known as the "Florentine Pietà".
On the cornice at its base is in the middle a small "Pietà", flanked by two winged angels (the "Angel of the Annunciation" and the "Angel of the Passion"), while on the four corners stand the four Evangelists in oriental robes. The lower part of the cyma is surrounded by several free-standing figures, the Patron Saints of Bologna: Saint Francis of Assisi, "St. Petronius" (began by Niccolò but finished by young Michelangelo in 1494), Saint Dominic and Saint Florian. On the back stand the statues St Anne, St John the Baptist (sculpted by Girolamo Cortellini in 1539), San Vitale and "St. Proclus" (Michelangelo, 1494 – the resemblance and the posture of this statue shows that he likely had his "David" already in mind at that time). 
It was then that Michelangelo first began writing down his deepest thoughts in poetry which he continued to do for the rest of his life.[4] From 1490 to 1492, Michelangelo attended the Humanist academy which the Medici had founded. He absorbed Renaissance Neoplatonism through his direct contact with some of the great Renaissance humanist philosophers of the Medici Court.[5] Consequently, both Michelangelo's outlook and his art were subject to the influence of many of the most prominent philosophers and writers of the day including Marsilio Ficino, Pico della Mirandola and Angelo Poliziano.[6] Michelangelo studied sculpture under Bertoldo di Giovanni. At this time Michelangelo sculpted the reliefs Madonna of the Steps (1490–1492) and Battle of the Centaurs (1491–1492). The latter was based on a subject suggested by Poliziano and was commissioned by Lorenzo de' Medici.[1]
The Madonna of the Stairs (or Madonna of the Steps) is a relief sculpture by Michelangelo in the Casa Buonarroti, Florence. It was sculpted around 1491, when Michelangelo was about seventeen. This and the "Battle of the Centaurs" were Michelangelo's first two sculptures. The first reference to the "Madonna of the Stairs" as a work by Michelangelo was in the 1568 edition of Giorgio Vasari's "Lives of the Most Excellent Painters, Sculptors, and Architects".
Another possibility about what scene is being staged is the Pietà. The Pietà scene has been a strong continuity in Michelangelo's work. Throughout his life, Michelangelo has drawn hundreds of Pietas and has sculpted two others: the St. Peter's Pietà, and the Rondanini Pietà. Because of Michelangelo's personal attachment to the Pietà, or the Virgin's Suffering, this poses a decent argument that this is a Pietà despite its unconventional representation. Traditionally, this scene is only shared between the Virgin Mary and Christ's body without onlookers and definitely without other participants such as the Magdalene and the unknown hooded figure. The Pietà is generally supposed to be a scene to highlight the huge sacrifice Christ had to make to follow through with his prophecy. Special emphasis is often put on the Virgin's pain instead of Christ's lifeless body. The presence of the other figures argues against the possibility of Michelangelo's work being just a Pietà.
Michelangelo's David has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty.
The bronze statue of Saint Andrew in the cathedral was sculpted by Michelangelo Naccherino, a pupil of Michelangelo; also present are Pietro Bernini marble sculptures of St. Stephen and St. Lawrence.
"Battle of the Centaurs" was a remarkable sculpture in several ways, presaging Michelangelo's future sculptural direction. Michelangelo had departed from the then current practices of working on a discrete plane to work multidimensionally. It was also the first sculpture Michelangelo created without the use of a bow drill and the first sculpture to reach such a state of completion with the marks of the subbia chisel left to stand as a final surface. Whether intentionally left unfinished or not, the work is significant in the tradition of "non finito" sculpting technique for that reason. Michelangelo regarded it as the best of his early works, and a visual reminder of why he should have focused his efforts on sculpture.
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's "Last Judgment" in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but he had found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the "Allegory of the Holy League". By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works ("The Purification of the Temple"), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century "Chronicles", Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.
Coonin, A. Victor, From Marble to Flesh: The Biography of Michelangelo’s David, Florence: The Florentine Press, 2014. ISBN9788897696025. Hall, James, Michelangelo and the Reinvention of the Human Body New York: Farrar, Straus and Giroux, 2005. Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams Books,1982. Hibbard, Howard. Michelangelo, New York: Harper & Row, 1974. Hirst Michael, “Michelangelo In Florence: David In 1503 and Hercules In 1506,” The Burlington Magazine, 142 (2000): 487–492. Hughes, Anthony, Michelangelo, London: Phaidon Press, 1997. Levine, Saul, "The Location of Michelangelo's David: The Meeting of January 25, 1504", The Art Bulletin, 56 (1974): 31–49. Pope-Hennessy, John, Italian High Renaissance and Baroque Sculpture. London: Phaidon, 1996. Seymour, Charles, Jr. Michelangelo's David: a search for identity (Mellon Studies in the Humanities), Pittsburgh: University of Pittsburgh Press, 1967. Vasari, Giorgio, The Lives of the Artists (Penguin Books), “Life of Michelangelo”, pp.325–442.
In 1504 Leonardo da Vinci was given the commission by gonfaloniere Piero Soderini, a contract signed by Niccolò Machiavelli, to decorate the Hall of Five Hundred. At the same time his rival Michelangelo, who had just finished his "David", was designated the opposite wall. This was the only time that Leonardo da Vinci and Michelangelo worked together on the same project. The painting of Michelangelo depicted an episode from the Battle of Cascina, when a group of bathing soldiers was surprised by the enemy. However Michelangelo did not stay in Florence long enough to complete the project. He was able to finish his cartoon, but only began the painting. He was invited back to Rome in 1505 by the newly appointed Pope Julius II and was commissioned to build the Pope's tomb.
Is Created With A One neoclassic style, with baroque reminiscence, this grand temple was built from 1742–1775, from "piedra braza". It is topped with two slender neoclassical towers, 63m in height each, and three airy domes, all designed by the "tepatitlense" mason, Don Martín Pozos. The façade is dominated by a curious architectural element: a semi-hexagonal "pórtico", which was added as a support for the heavy and slender towers which, as Pozos was told, would collapse if he did not add support. On the inside, it is decorated by the main altar, constructed entirely of white marble from Carrara, and the sculptures of the four Evangelists, sculpted by the Italian architect Augusto C. Volpi, whose depiction of St. John is detailed with such exquisite beauty, it doesn't stand any less than Michelangelo's "David". Another great example of the local craftsmanship is the sculptural group of "La Piedad", carved in oak wood by Agustín Espinoza, which has been compared, kept in due proportion, to Michelangelo's "Pietà". One of the most remarkable facts of this church is its clock, located on the south tower, facing the Plaza de Armas, which has been giving the time to the residents 141 years non-stop.
In Florence, in the early 1580s, he sculpted a copy of Michelangelo’s "Risen Christ" for the church of Santo Spirito. He was also called to sculpt the statue of "Winter", a man shivering, on the Ponte Santa Trinita over the river Arno. The bridge was designed by Ammanati. The other three seasons were completed by either Caccini and Francavilla.
"Florimbi incorporates Michelangelo’s illogical axis-spinning furiously against all odds--with Rene Magritte’s invitation to catch shapes in the clouds. Giorgione’s storm warnings mingle with O’Keeffe’s gaping spaces all beneath Titian’s exquisite sculpted clouds. Each Painting emits a supernatural weather so strong it threatens to suck us in, uncertain as to whether we will sink, soar, float or fall.”
Sculpting of the work took less than two years. Following completion, the "Pietà"'s first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his "Pietà", Michelangelo overheard (or asked visitors about the sculptor) someone remark that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary's chest. The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands.
The Florentine "Prigioni" (The "Young Slave", the "Bearded Slave", the "Atlas Slave", and the "Awakening Slave") were probably sculpted in the latter half of the 1520s, when Michelangelo was employed at San Lorenzo in Florence (but historians have suggested dates between 1519 and 1534). They are known to have been in the artist's store on the via Mozza until 1544, when Michelangelo's nephew, Leonardo Buonarroti, asked for permission to sell them (Michelangelo did not set foot in Florence after 1534). This permission was denied and it was only in 1564 that they were sold, along with "The Genius of Victory" to the Grand Duke Cosimo I, who placed them in the four corners of the Grotto of Buontalenti before 1591. They were removed from there in 1908 to join the Michelangelo collection which had been formed in the Florentine gallery.
Michelangelo Buonarroti was a guest of the convent of Santa Maria del Santo Spirito (Florence) when he was seventeen years old, after the death of his protector Lorenzo de' Medici. Here he could make anatomical studies of the corpses coming from the convent's hospital; in exchange, he is said to have sculpted the wooden crucifix which was placed over the high altar. Today the crucifix is in the octagonal sacristy of the Basilica of Santa Maria del Santo Spirito.
It is also the title of a sculpture by Michelangelo of a reclining child. Michelangelo sculpted the statue from a block of scrap marble, then rubbed it with dirt and a wire brush to artificially age it. The sculpture was sold to a collector as a work of ancient Greek classic art.