Instruct: Given a question, retrieve relevant documents that answer the question.
Query: How tall is Michelangelo's 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]
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,[19] 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.[20][21] Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.
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]
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. Art critics therefore identify the sculpture as one or the other, or, by showing a hyphenated title, "Apollo-David" or "David-Apollo", to note the uncertainty. Factors favoring the identity as Apollo are: the body is stocky and mature, as Apollo often was portrayed, rather than the typical portrayal of a youthful David; no bow is represented in the carving and, no unfinished portion of the statue allows enough area for one.
Michelangelo's David has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty.
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 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.[30]
The sculpture is a subject of a 2010 film by Danila Cahen, "Friendly Enemies", and of a 2011 book, "Rise and Fall and Rise of David (inspired by Michelangelo)".
Michelangelo composed more than forty-two epigrams of four lines each. In a letter to del Riccio Michelangelo wrote of Cecchino as "the flame who consumes me" and related a dream in which the boy "mocked my senile love"; also alluding to physical consummation in one of his quatrains: "Do yet attest for him how gracious I was in bed/ When he embraced, and in what the soul doth live." This was accompanied by a note advising Riccio to burn the last two lines "in the fire without witness", lest Michelangelo be disgraced.
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.
At the center of the composition, God is shown in "contrapposto" rising into the sky, with arms outstretched separating the light from the darkness. Michelangelo employed in this fresco the challenging ceiling fresco technique of "sotto in su" ("from below, upward"), which makes a figure appear as if it is rising above the viewer by using foreshortening. The contrapposto pose was also used by Michelangelo in the "David". It is reported that Michelangelo painted this fresco in a single "giornata", that is, a single working day of approximately eight hours. During Michelangelo's lifetime, this fresco was considered evidence of the painter's technical prowess at its peak. For instance, Giorgio Vasari (1511–1574), Michelangelo's student and biographer, wrote in 1550:
List of works by Michelangelo List of statues by height
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 create a 'Michelangelo museum', with original sculptures and drawings, to celebrate the fourth centenary of the artist's birth. Today, the gallery's small collection of Michelangelo's work includes his four unfinished "Prisoners", intended for the tomb of Pope Julius II, and a statue of Saint Matthew, also unfinished. In 1939, these were joined by a "Pietà" discovered in the Barberini chapel in Palestrina, though experts now consider its attribution to Michelangelo to be dubious. 
Michelangelo returned to Florence in 1499. The republic was changing after the fall of its leader, anti-Renaissance priest Girolamo Savonarola, who was executed in 1498, and the rise of the gonfaloniere Piero Soderini. Michelangelo was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue of Carrara marble portraying David as a symbol of Florentine freedom to be placed on the gable of Florence Cathedral.[30] Michelangelo responded by completing his most famous work, the statue of David, in 1504. The masterwork definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination. A team of consultants, including Botticelli and Leonardo da Vinci, was called together to decide upon its placement, ultimately the Piazza della Signoria, in front of the Palazzo Vecchio. It now stands in the Academia while a replica occupies its place in the square.[31]
It is possible that the David was conceived as a political statue before Michelangelo began to work on it.[24] 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.[25] 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. These political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces.
There is an anecdote that Michelangelo received a letter from his father saying that he should abandon whatever he was doing because a great piece of marble had arrived for him, which would become his "David" sculpture.
David Michael Geoffrey Hirst was born on 5 September 1933 and studied at New College, Oxford, and the Courtauld Institute of Art. Lecturer, Reader and Professor of Courtauld Institute of Art, University of London, and a Fellow of the Academy since 1983, Hirst has been one of the foremost specialists on the drawings of Michelangelo. Indeed, such was his international standing in the world of Michelangelo studies that he was made a member of the Pontifical Commission for the Restoration of the Sistine Chapel's ceiling in 1987, and the following year curated an exhibition on Michelangelo as Draftsman for the National Gallery of Art in Washington.
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.
The presentations drawings by Michelangelo to Tomasso Cavalieri have been a topic of interest among scholars because of their highly finished nature and because of the implications that they might have about Michelangelo’s sexuality. The drawings have been argued to be expressions of homo-eroticism and also teaching tools for the purpose of instructing Cavalieri on how to draw. Also, Tityus has become of special interest among this grouping because of the Risen Christ depiction on the back. The purpose of this figure on the back along with who drew it is still unknown by scholars and remains a mystery.
at the Encyclopædia Britannica at Project Gutenberg at Internet Archive at LibriVox (public domain audiobooks) at the Mathematics Genealogy Project How to decide if a drawing is by Michelangelo.
The square, dedicated to the Renaissance sculptor Michelangelo, has bronze copies of some of his marble works found elsewhere in Florence: the David and the four allegories of the Medici Chapel of San Lorenzo. The monument was brought up by nine pairs of oxen on 25 June 1873. 
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.
As in painting, early Italian Mannerist sculpture was very largely an attempt to find an original style that would top the achievement of the High Renaissance, which in sculpture essentially meant Michelangelo, and much of the struggle to achieve this was played out in commissions to fill other places in the Piazza della Signoria in Florence, next to Michelangelo's "David". Baccio Bandinelli took over the project of "Hercules and Cacus" from the master himself, but it was little more popular then than it is now, and maliciously compared by Benvenuto Cellini to "a sack of melons", though it had a long-lasting effect in apparently introducing relief panels on the pedestal of statues. Like other works of his and other Mannerists it removes far more of the original block than Michelangelo would have done. Cellini's bronze "Perseus with the head of Medusa" is certainly a masterpiece, designed with eight angles of view, another Mannerist characteristic, and artificially stylized in comparison with the "David"s of Michelangelo and Donatello. Originally a goldsmith, his famous gold and enamel Salt Cellar (1543) was his first sculpture, and shows his talent at its best.
In the two frescos of the Pauline Chapel, The Crucifixion of St. Peter and The Conversion of Saul, Michelangelo has used the various groups of figures to convey a complex narrative. In the Crucifixion of Peter soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events. A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events. In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment.
The Baroque saw significant changes in the art of sculpture; Bernini was at the forefront of this. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini's "David" is a three-dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The sculpture relates to an unseen entity – in the form of Goliath, the object of David's aggression – as well as to the spectator, caught in the middle of the conflict. The warrior even literally oversteps the boundaries between life and art, putting his toes over the edge of the plinth. The conventions of time, as well as space, were challenged. Instead of the serene constancy of, for example, Michelangelo's "David", Bernini has chosen to capture a fraction of time in the course of a continuous movement. Thus the latent energy that permeates Michelangelo's "David" is here in the process of being unleashed.
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.