Donatello's bronze statue of David (circa 1440s)  is famous as the first unsupported standing work of bronze cast during the Renaissance, and the first freestanding nude male sculpture made since antiquity.
 It depicts David with an enigmatic smile, posed with his foot on Goliath's severed head just after defeating the giant.
The youth is completely naked, apart from a laurel-topped hat and boots, and bears the sword of Goliath.

The creation of the work is undocumented.
Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace designed by Michelozzo was under construction.
According to one theory, it was commissioned by the Medici family in the 1430s to be placed in the center of the courtyard of the old Medici Palace.
Alternatively it may have been made for that position in the new Palazzo Medici, where it was placed later, which would place the commission in the mid-1440s or even later.
The statue is only recorded there by 1469.
The Medici family were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble David was already in the palazzo).
 It was moved to the Palazzo Pitti in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Museo Nazionale del Bargello, where it remains today.

According to Vasari, the statue stood on a column designed by Desiderio da Settignano in the middle of the courtyard of the Palazzo Medici; an inscription seems to have explained the statue's significance as a political monument.
A quattrocento manuscript containing the text of the inscription is probably an earlier reference to the statue; unfortunately the manuscript is not dated.
Although a political meaning for the statue is widely accepted, but what that meaning is has been a matter of considerable debate among scholars.

The iconography of the bronze David follows that of the marble David:  a young hero stands with sword in hand, the severed head of his enemy at his feet.
Visually, however, this statue is startlingly different.
David is both physically delicate and remarkably effeminate.
The head has been said to have been inspired by classical sculptures of Antinous, a favourite of Hadrian renowned for his beauty.
The statue's physique, contrasted with the large sword in hand, shows that David has overcome Goliath not by physical prowess, but through God.
The boy's nakedness further implies the idea of the presence of God, contrasting the youth with the heavily-armoured giant.
David is presented uncircumcised, which is customary for male nudes in Italian Renaissance art.
Donatello's bronze statue of David (circa 1440s)  is famous as the first unsupported standing work of bronze cast during the Renaissance, and the first freestanding nude male sculpture made since antiquity.  It depicts David with an enigmatic smile, posed with his foot on Goliath's severed head just after defeating the giant. The youth is completely naked, apart from a laurel-topped hat and boots, and bears the sword of Goliath.
The creation of the work is undocumented. Most scholars assume the statue was commissioned by Cosimo de' Medici, but the date of its creation is unknown and widely disputed; suggested dates vary from the 1420s to the 1460s (Donatello died in 1466), with the majority opinion recently falling in the 1440s, when the new Medici Palace designed by Michelozzo was under construction. According to one theory, it was commissioned by the Medici family in the 1430s to be placed in the center of the courtyard of the old Medici Palace. Alternatively it may have been made for that position in the new Palazzo Medici, where it was placed later, which would place the commission in the mid-1440s or even later. The statue is only recorded there by 1469. The Medici family were exiled from Florence in 1494, and the statue was moved to the courtyard of the Palazzo della Signoria (the marble David was already in the palazzo).  It was moved to the Palazzo Pitti in the 17th century, to the Uffizi in 1777, and then finally, in 1865, to the Museo Nazionale del Bargello, where it remains today.
According to Vasari, the statue stood on a column designed by Desiderio da Settignano in the middle of the courtyard of the Palazzo Medici; an inscription seems to have explained the statue's significance as a political monument. A quattrocento manuscript containing the text of the inscription is probably an earlier reference to the statue; unfortunately the manuscript is not dated. Although a political meaning for the statue is widely accepted, but what that meaning is has been a matter of considerable debate among scholars.
The iconography of the bronze David follows that of the marble David:  a young hero stands with sword in hand, the severed head of his enemy at his feet. Visually, however, this statue is startlingly different. David is both physically delicate and remarkably effeminate. The head has been said to have been inspired by classical sculptures of Antinous, a favourite of Hadrian renowned for his beauty. The statue's physique, contrasted with the large sword in hand, shows that David has overcome Goliath not by physical prowess, but through God. The boy's nakedness further implies the idea of the presence of God, contrasting the youth with the heavily-armoured giant. David is presented uncircumcised, which is customary for male nudes in Italian Renaissance art.
David (Donatello)