One of Verrocchio’s en.wikipedia.org/wiki/Andrea_del_Verrocchio most captivating sculptures was a four-foot bronze of a young warrior David standing in triumph over the head of Goliath (fig 1) His smile is tantalizing and a bit mysterious – What exactly is he thinking? – like the ones Leonardo would later paint. It quavers between expressing a childlike glory and a drawing realization of future leadership. A cocky smile is caught in the moment of being transformed into resolution.. . . . there are reasons to think that Leonardo posed for Verrocchi’s David. The face is not the usual broad type that Verrocchio had previous favored. He clearly used a new model, and the recently arrived boy in the shop was the obvious candidate, especially because according to Vasari, young Leonardo had “a beauty of body beyond description, a splendour that rejoiced the most sorrowful souls.” such praises of young Leonardo’s loveliness are echoed by his other early biographers. . . Page 35/36
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Dinesh said:
One of Verrocchio’s en.wikipedia.org/wiki/Andrea_del_Verrocchio most captivating sculptures was a four-foot bronze of a young warrior David standing in triumph over the head of Goliath (fig 1) His smile is tantalizing and a bit mysterious – What exactly is he thinking? – like the ones Leonardo would later paint. It quavers between expressing a childlike glory and a drawing realization of future leadership. A cocky smile is caught in the moment of being transformed into resolution.. . . . there are reasons to think that Leonardo posed for Verrocchi’s David. The face is not the usual broad type that Verrocchio had previous favored. He clearly used a new model, and the recently arrived boy in the shop was the obvious candidate, especially because according to Vasari, young Leonardo had “a beauty of body beyond description, a splendour that rejoiced the most sorrowful souls.” such praises of young Leonardo’s loveliness are echoed by his other early biographers. . . Page 35/36