ive been holding on dont know why loves not for everyone but i still try ive been holdin on dont know why loves not for everyone but i still try baby what you talking about dont know how to act lookin at your phone but you wont hit me back im not getting rest till i get you in my bed im not askin much but could you just show me respect i aint given you a follow i aint given you a check im reckless im du. mb acording to you but you dont know sh. it-god i love iann dior now

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type

explanation:

“blowin’ in the wind” was composed by bob dylan. most of bob dylan’s first songs trafficked with particular circumstances or people. at the newport folk festival, bob dylan was supported by the paul butterfield blues band. woody guthrie composed “this land is your land” as a response to irving berlin’s “god bless america.”like a rolling stone” held the long-drawn 45 rpm single that became always been taped. protest tunes normally include mild themes. bob dylan’s earliest collection to incorporate electronic melodies was returning it all back home. pete seeger never contracted with a dominant record name as a solo musician. most of the byrds’ initial records were covers of folk melodies.

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explanation: ililllio; o