Advertisments that you will Listen to

VITAE

If you were to see this image every time you took the trash out, would that motivate you to help the less fortunate? How would someone who opens this trash can searching for food feel?



COST OF SMOKING

This is very interesting. It shows the quantifiable loss of smoking. No health or social issue, just money! More people may be able to relate if the car was a bit more expensive.




DRINK AND DROWN


This touches deeper than the average "Don't drink and drive" Advertisement. Quite frankly, I get tired of seeing them. However, this has capture a serious issue that many people many not be aware of or take seriously. The positioning of the woman's body is in a fetal-like pose which makes me think of women who drink/smoke while pregnant as well. Interesting concept on how the drink looks so appetizing but there is a dead woman laying in it...Go figure!

DON'T BE STUPID...PROTECT YOURSELF

The campaign has depicted that protection is as comparable to those dangerous situations portrayed in the campaign such as fire outburst, armed confrontation and harmful chemical leaks. The copy of the ad is equally good saying, ‘Don’t be stupid’. The ad was created by Advico Young & Rubicam, Zurich Read more




ONE LIFE: COUCH


This by far is the MOST intriguing Ad i have seen. I read elsewhere that this has been done before. However, this is my first time viewing it. The hands suggest every sexual partner the woman has had sex with. Its an impersonal form of art direction. Amazing detail in the graphic display of each sexual partner.





Author: 90 Creative Advertisements

Michelangelo & Bernini's David

Michelangelo

Michelangelo’s "David" is a marble Renaissance sculpture of the hero from the bible who conquered the giant Goliath. The statue was commissioned by the Wool Guild, a wealthy corporation of wool merchants, on August 16, 1501. Michelangelo worked on the sculpture from 1501 - 1504. Although it was commissioned for the cathedral of Florence, the government decided to place it in front of the Palazzo Vecchio

Michelangelo broke from the traditional portrayal of David as hero with the giant’s head at his feet. He instead portrayed the youthful David before his famous encounter. The right side of the figure appears at ease and relaxed while the left side is alert and dynamic. David was the first nude statue since antiquity to stand in a public place. The original is now in the Academia and a copy is in the Piazza della Signoria.


Bernini

When he tackled his David in 1623-224, Bernini knew that he was risking comparison with works in a sculptural tradition that included the great names of the artistic culture of the Italian Renaissance, from Donatello to Verrocchio and Michelangelo. He subverted the traditional way of representing David. Instead of depicting the static figure after killing Goliath (as had Donatello and Verrocchio) or the measured strain of the act itself (as had Michelangelo), Bernini once again countered with the dynamic charge of the spiral. It is well known that he took his inspiration from the so-called Borghese Gladiator, now in the Louvre but at the time one of the prize pieces in Cardinal Borghese's collection. From the Gladiator derive the feet planted widely apart and the twisting torso.

In comparison to the earlier celebrated David sculptures, Bernini paid particular attention to the biblical text and sought to follow it as closely as possible. Unlike the earlier sculptures, Bernini's hero has a shepherd's pouch around his neck which already contains pebbles ready to use in the deadly sling which he will use against Goliath. The upper part of David's body is represented immediately after has taken a stone from his pouch. This means that the torso twists and strains not just physically but psychologically. The hero is depicted when, having taken the stone from his pouch, he twists his body in the opposite direction, tensioning it spring-like, then stops to think for a spilt second before releasing the stone that will slay Goliath. All the strain that has been built up shows in David's face, a self-portrait that was executed with Cardinal Borghese's assistance, for he volunteered to hold a mirror up to enable the twenty-five-year-old Bernini to complete his work.

Authors: Art Daily and Web Gallery of Art