How was Michelangelo’s David a reflection of Florentine politics?

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How was Michelangelo’s “David” a reflection of Florentine politics?
Michelango’s David was one of the most elegant sculptures ever made. Michelangelo’s statue of David symbolizes the aesthetics of high Renaissance art, the political affairs of Renaissance Florence and the practical expertise of Greek sculpture. The sculpture represented the biblical hero, David, about to fight the giant, Goliath. How the young David defeated Goliath in a single battle, equipped only with pebbles and a sling was a common theme in Renaissance art. It was an appropriate analogy for a Florentine city-state surrounded by powerful enemies of France and Milan and other city-states. Michelangelo depicts David before the fight with Goliath. He is tense and looks ready for the battle. Despite his mental concentration, he stands in a relaxed position. The blend of intense expression and the relaxed pose is intended to capture the short period between the choice to battle and the fight itself. Michelangelo’s David was a social statement of city-state politics which was a picture of defiance and freedom. Michelangelo was trying to depict that David’s character was outstanding in his victory. The city of Florence needed to be strong and ready to fight to the death to overcome its enemies. The rival city-states were cautioned by the sculpture to beware since Florence was not afraid (Olszewski 121).
The statue nakedness was intended to symbolize the innocence of the young shepherd boy who represents Christian devotion.

It also expresses confidence and pride in human abilities. David was to be placed on the top of the Florence Cathedral roof but was instead positioned in a public square outside the Palazzo Vecchio. It replaced Donatello’s bronze sculpture of Judith and Holofernes. The decision was made by a committee of 30 Florentine citizens who involved a lot of artists. Due to the nature of the protagonist it epitomized, it came to represent the defense of civil liberties exemplified in the Republic of Florence (Plumb 134)
The sculpture poses in an intentional defiant political way. “The killer of the giant, Goliath” was to be positioned with its eyes look onto Rome. It is also a diplomatic slur to the Medici family who had been evacuated from the city ten years earlier.
Work cited
Olszewski, Edward J. “Michelangelo’s David: Full Frontal Nudity in the Age of Savonarola.” Source: Notes in the History of Art 35.12 (2016): 118-125.
Plumb, John Harold. The Italian Renaissance. New Word City, 2017.