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Ceiling of the Sistine Chapel(vatican)-1508~12
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Ceiling of the Sistine Chapel bay4.
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Noah 7~9, the flood left view.
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Noah 7~9, the flood right view
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the fall & expulsion from paradise, Original
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the fall & expulsion from paradise
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next to separation of land & the persian sybils 2.
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next to separation of land & the persian sybils
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Michelangelo
Timeline: The High Renaissance
In full MICHELANGELO DI LODOVICO BUONARROTI SIMONI (b. March 6, 1475, Caprese,
Republic of Florence [Italy]--d. Feb. 18, 1564, Rome), Italian Renaissance
sculptor, painter, architect, and poet who exerted an unparalleled influence on
the development of Western art.
I cannot live under pressures from patrons, let alone paint.
-- Michelangelo, quoted in Vasari's Lives of the Artists
David
Gigantic marble, started in 1501 and completed in 1504
Michelangelo began work on the colossal figure of David in 1501, and by 1504 the
sculpture (standing at 4.34m/14 ft 3 in tall) was in place outside the Palazzo
Vecchio. The choice of David was supposed to reflect the power and determination
of Republican Florence and was under constant attack from supporters of the
usurped Medicis. In the 19th century the statue was moved to the Accademia.
:
: Michelangelo: a dominant force in Florence and Rome
:
: Michelangelo Buonarroti (1475-1564) exerted enormous influence. He, too, was
: universally acknowledged as a supreme artist in his own lifetime, but again, his
: followers all too often present us with only the master's outward manner, his
: muscularity and gigantic grandeur; they miss the inspiration. Sebastiano del
: Piombo (c.1485-1547), for example, actually used a drawing (at least a sketch)
: made for him by Michelangelo for his masterwork, The Raising of Lazarus.
: Masterwork it is; yet how melodramatic it appears if compared with
: Michelangelo's own painting.
:
: Michelangelo resisted the paintbrush, vowing with his characteristic vehemence
: that his sole tool was the chisel. As a well-born Florentine, a member of the
: minor aristocracy, he was temperamentally resistant to coercion at any time.
: Only the power of the pope, tyranical by position and by nature, forced him to
: the Sistine and the reluctant achievement of the world's greatest single fresco.
: His contemporaries spoke about his terribilit? which means, of course, not so
: much being terrible as being awesome. There has never been a more literally
: awesome artist than Michelangelo: awesome in the scope of his imagination,
: awesome in his awareness of the significance--the spiritual significance--of
: beauty. Beauty was to him divine, one of the ways God communicated Himself to
: humanity.
:
: Like Leonardo, Michelangelo too had a good Florentine teacher, the delightful
: Domenico Ghirlandaio (c.1448-94). Later, he was to claim that he never had a
: teacher, and figuratively, this is a meaningful enough statement. However, his
: handling of the claw chisel does reveal his debt to Ghirlandaio's early
: influence, and this is evident in the cross-hatching of Michelangelo's
: drawings--a technique he undoubtedly learned from his master. The gentle
: accomplishments of a work like The Birth of John the Baptist bear not the
: slightest resemblance to the huge intelligence of an early work of
: Michelangelo's like The Holy Family, also known as the Doni Tondo. This is
: somehow not an attractive picture with its chilly, remote beauty, but its stark
: power stays in the mind when more acessible paintings have been forgotten.
:
: The Sistine Chapel
:
: All the same, it is the Sistine ceiling that displays Michelangelo at the full
: stretch of his majesty. Recent cleaning and restoration have exposed this
: astonishing work in the original vigour of its color. The sublime forms, surging
: with desperate energy, tremendous with vitality, have always been recognized as
: uniquely grand. Now these splendid shapes are seen to be intensely alive in
: their color, indeed shockingly so for those who liked them in their previous dim
: grandeur.
:
: The story of the Creation that the ceiling spells out is far from simple, partly
: because Michelangelo was an exceedingly complicated man, partly because he
: dwells here on profundities of theology that most people need to have spelt out
: for them, and partly because he has balanced his biblical themes and events with
: giant ignudi, naked youths of superhuman grace. They express a truth with
: surpassing strength, yet we do not clearly see what this truth actually is. The
: meaning of the ignudi is a personal one: it cannot be verbalized or indeed
: theologized, but it is experienced with the utmost force.
: Detail of the Sistine Chapel, appearing over the head of the Prophet Jeremiah
: Michelangelo painted the ceiling of the Sistine Chapel from 1508 to 1512,
: commissioned by Pope Julius II. On becoming pope in 1503, Julius II reasserted
: papal authority over the Roman barons and successfully backed the restauration
: of the Medici in Florence. He was a liberal patron of the arts, commissioning
: Bramante to build St Peter's Church, Michelangelo to paint the Sistine Chapel,
: and Raphael to decorate the Vatican apartments.
:
: Seers and prophets
:
: There is the same power, though in more comprehensible form, in the great
: prophets and seers that sit in solemn niches below the naked athletes. Sibyls
: were the oracles of Greece and Rome. One of the most famous was the Sibyl of
: Cumae, who, in the Aeneid, gives guidance to Aeneas on his journey to the
: underworld. Michelangelo was a heavyweight intellectual and poet, a profoundly
: educated man and a man of utmost faith; his vision of God was of a deity all
: ``fire and ice'', terrible, august in His severe purity. The prophets and the
: seers who are called by divine vocation to look upon the hidden countenance of
: God have an appropriate largeness of spirit. They are all persons without
: chitchat in them.
:
: Sybille de Cummes
: ceiling of the Sistine Chapel in Vatican City
: Sibyls were female seers of ancient Greece and Rome. They were also known as
: oracles. Like the Jewish prophets of the Old Testament, many sibyls had their
: sayings recorded in books. Jewish prophets spoke unbidden, whereas sibyls tended
: to speak only if consulted on specific questions. They sometimes answered in
: riddles or rhetorical questions.
:
: The Erythraean Sibyl leans forward, lost in her book. The artist makes no
: attempt to show any of the sibyls in appropriate historical garb, or to recall
: the legends told of them by the classical authors. His interest lies in their
: symbolic value for humanity, proof that they have always been the spiritual
: enlightened ones, removed from the sad confusion of blind time.
:
: The fact that the sibyls originated in a myth, and one dead to his heart (which
: longed for Christian orthodoxy) only heightens the drama. At some level we all
: resent the vulnerability of our condition, and if only in image, not reality, we
: take deep comfort in these godlike human figures. Some of the sibylline seers
: are shown as aged, bent, alarmed by their prophetic insight.
:
: The implicit sense of God's majesty (rather than His fatherhood) is made
: explicit in the most alarming Last Judgement known to us. Is is Michelangelo's
: final condemnation of a world he saw as irredeemably corrupt, a verdict
: essentially heretical, though at that time is was thought profoundly orthodox.
: His judging Christ is a great, vengeful Apollo, and the power in this terrible
: painting comes from the artist's tragic despairs. He paints himself into the
: judgement, not as an integral person, but as a flayed skin, an empty envelope of
: dead surface, drained of his personhood by artistic pressure. The only
: consolation, when even the Virgin shrinks from this thunderous colossus, is that
: the skin belongs to St Bartholomew, and through this martyr's promise of
: salvation we understand that perhaps, though flayed alive, the artist is
: miraculously saved.
:
: As grandly impassive as the Erythraean Sibyl is the heroic Adam in The Creation
: of Adam, lifting his languid hand to his Creator, indifferent to the coming
: agonies of being alive.
:
:
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