David

David was a popularly depicted subject by Renaissance artists and sculptors such as Donatello, Verrocchio, and Michelangelo. But Bernini's sculpture differed radically from the poised, forward-facing forms that were traditional. Also, instead of showing the moment after David has defeated Goliath, which was customary, he shows him about to fire. 

This sculpture shows Bernini's characteristic portrayal of the decisive moment. He shows the figure as part of a wider story by creating the illusion of movement through the figure's stance and facial expression.  Bernini's twisting figures and deeply carved draperies defy the limits of niches and cannot be bound or framed by a single view. Instead the viewer is encouraged to walk around the sculpture, taking it in from multiple angles to fully appreciate every detail.

David's face was believed by Bernini's son to be a self-portrait, which may be how he achieved the exact expression he wanted, giving us insight into how Bernini worked. This sculpture shows a key change between the Renaissance and Baroque. Renaissance artists previously worked from ancient sculptures whereas Bernini worked directly from life.

Bernini's sculpture of David depicts the Biblical moment just before the young man threw the stone that slew the giant Goliath, an action that would make him king. His body is twisted and his facial expression is one of concentration and tension. His eyes are fixed on the target and his body is in a stance ready to swing his arm and throw the stone, like a spring about to be released. Armor lies at his feet, referring to the Bible text, which states that David removed his armor to allow him freer movement, reflecting his complete trust in God's aid. 

This marble sculpture is in the Galleria Borghese, Rome