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Theatre Tips Sion of the Men in Her Life, Unfolded on Stage
Issue 152 September 2018 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY GETTY IMAGES Theatre Tips sion of the men in her life, unfolded on stage. Broadway show inexpensively, but of course, Not every theatre experience is as emotion- you shouldn’t rely on winning to have plans M ELISSA JAR M EL ally charged as that one, but they all offer a to see theatre that night. Some shows like One of the best ways that I know how chance to see life from a different perspective Mean Girls, Book of Mormon, and Once On to take myself out of lab life is to see live the- and with a unique group of people. In future This Island offer in person lotteries every atre, and I’m lucky that New York City offers posts, I hope to highlight shows I’ve watched day that are usually drawn two hours before an overwhelming number of options to do on and off Broadway, but this time I want to the performance. In the last couple of years, this affordably (though Hamilton ticket pric- give you tips for seeing theatre on a budget. many shows have begun to offer digital lot- es may have you fooled about this). If you are a full time student, teacher, tery options. Broadway Direct (https://lot- One of the aspects I love most about or faculty member (or other qualifying cat- tery.broadwaydirect.com/) offers digital lot- going to the theatre is the acute feeling that egory), the Theatre Development Fund is teries for Lion King, Aladdin, Spongebob, and I am part of a connected community. -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Venice & Florence
Venice & Florence from £ 1,095.00 per person Based on 2 adults (August 2020 departure) Venice Florence Italy Italy 2 2 3 1 6 DESTINATIONS HOTELS TICKETS TRANSFERS NIGHTS Rail Tickets included Flights not included in the price of the experience: to be added as per your personal choice of UK departure airport *Price and itinerary are subject to change Call our Sales Experts for a Tailor-made Package 0208 973 2292 Venice From day 1 to day 4 (06/Aug/2020 > 09/Aug/2020) Italy About the city Perhaps no city is as fabulous as Venice, a metropolis built upon pilings, a labyrinth poised over a lagoon. 3 Venice has been called the drawing room of Europe, and indeed for centuries the city was a sanctuary for ideas and idealists, a crossroad of the Byzantine and Roman worlds. Today Venice is a different kind of drawing room. Wealthy visitors clamber into gondolas to gawk at the Byzantine palaces while being serenaded by accordionists and art appreciators stand on tiptoe for a glimpse of Renaissance masterpieces. No monument is as memorable as the city itself, so use the major sights only as an excuse for wandering. Venice revolves around piazza San Marco. The best feature of the mosaic-covered Basilica di San Marco is the Pala D’Oro, a glittering gold Byzantine bas-relief. The Torre dell’Orologio, left of San Marco, is a beautifully embellished clock tower. For culture vultures check the Accademia for the best of Venetian paintings. Some say that the tourist Venice is indeed Venice, but there are other Venices as well. -
The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS. -
Tintoretto: Artist of Renaissance Venice March 24, 2019 - July 7, 2019
Updated Thursday, January 31, 2019 | 10:24:35 Tintoretto: Artist of Renaissance Venice March 24, 2019 - July 7, 2019 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. ID: 4764-018 Jacopo Tintoretto A Young Man of the Doria Family, c. 1560 oil on canvas overall: 107 x 73 cm (42 1/8 x 28 3/4 in.) framed: 148 x 107 x 22 cm (58 1/4 x 42 1/8 x 8 11/16 in.) Museo Cerralbo, Madrid ID: 4764-019 Jacopo Tintoretto Man with a Golden Chain, c. 1560 oil on canvas overall: 104 x 77 cm (40 7/8 x 30 1/4 in.) framed: 120 x 91.7 x 6.5 cm (47 1/4 x 36 1/8 x 2 9/16 in.) Museo Nacional del Prado, Madrid © Museo Nacional del Prado ID: 4764-061 Jacopo Tintoretto Venus and Vulcan, c. -
1 the Search for the Spirit of the Ecorche Of
1 1 The Search for the Spirit of the Ecorche of Michelangelo; a Painter’s Journey Delivered New York Studio School, November 6, 2007 Copyright Kim Sloane © 11/6/07 Not for reproduction or distribution. Draft with notes - Friday, November 16, 2007 11/16/2007-2 1) This lecture is based on a true story. The story begins standing in front of a painting at the Metropolitan Museum, with a pencil and sketchbook in my hand. It has continued ever since, in the form of a journey both intellectual and artistic. It has become a prolonged meditation on traditions, influence, kinds of influence, and above all, on the subject of movement, the movement of ideas, movements of form, and movements of the mind and, most importantly , how all these work together. It is not intended as Art history, but an attempt to follow ideas, in the studio tradition, artist to artist, as we do here this evening, both through the visual record of painting, drawing and sculpture and in the writings that artists have left us. It is an attempt to uncover kinds of influence that go beyond formal appearance. This evening. I would like to take you on my journey and would like to share some of my discoveries with you The painting I was standing in front of, drawing was the Abduction of Rebecca by Delacroix. Slide - Abduction of Rebecca, Delacroix 1846 As many of us know, to really see, to penetrate a painting, drawing from it is the best way. I have drawn from this painting many times, but this time, something different 2 happened, something new. -
500 Years of the New Sacristy: Michelangelo in the Medici Chapel
Petr Barenboim, Arthur Heath 500 YEARS OF THE NEW SACRISTY MICHEL 500 YEARS OF THE NEW SACRIST NEW THE OF YEARS 500 P etr Bar etr enboim ANGEL ( with Arthur Heath) Arthur with O IN THE MEDICI CHAPEL MEDICI THE IN O Y: The Moscow Florentine Society Petr Barenboim (with Arthur Heath) 500 YEARS OF THE NEW SACRISTY: MICHELANGELO IN THE MEDICI CHAPEL Moscow LOOM 2019 ISBN 978-5-906072-42-9 Illustrations: Photo by Sergei Shiyan 2-29,31-35, 45, 53-54; Photomontage by Alexander Zakharov 41; Wikimedia 1, 30, 35-36, 38-40, 42-44, 46-48, 50-52,57-60; The Museum of Oriental Art, Moscow 55-56 Cover design and composition Maria Mironova Barenboim Petr, Heath Arthur 500 years of the New Sacristy: Michelangelo in the Medici Chapel. Moscow, LOOM, 2019. — 152 p. ISBN 978-5-906072-42-9 Michelangelo Buonarroti (1475-1564) сriticism and interpretation. San Lorenzo Church (Florence, Italy) — Sagrestia Nuova, Medici. Dedicated to Professor Edith Balas In Lieu of a Preface: The Captive Spirit1 by Pavel Muratov (1881– 1950) Un pur esprit s’accroît sous l’écorce des pierres. Gerard de Nerval, Vers dores2 In the New Sacristy of San Lorenzo, in front of the Mi- chelangelo tombs, one can experience the most pure and fiery touch of art that a human being ever has the opportunity to ex- perience. All the forces with which art affects the human soul have become united here: the importance and depth of the con- ception, the genius of imagination, the grandeur of the images, and the perfection of execution. -
And Yet Another Papal Commission for Funerary Sculpture.I Ji;Ij1ii!Jmr.Ll 1Iii Lit F
"Art and death do not go well together," lamented Michelangelo in a famous letter, as he faced middle age and yet another papal commission for funerary sculpture.I ji;iJ1II!Jmr.ll_ 1IIi lIt f . I . hat, however, is precisely what Pope Clement VII called on him to 'I do-unite art and death-when. in f1520 he directed the already renowned Hi/ Iorty-five-year-old artist to execute a -.I funerary chapel to house the remains of ', ., four members of the Medici family. jU :r /I # I InI. response, Michelangelo created j one of the most enigmatic sculptural groups of his career. The allegorical f I1 human figures, called Day, Night, Dawn, ~:1I /0 and Dusk, have intrigued viewers ever since the artist left them strewn about the 17 chapel floor in 1534, when he left 0 I I Florence for Rome, never to return. U IRF IJ1 lq*." _- N I I :t: j0 _- F 01 I, Le !1 r t -\ t I .1 ''..I zIIIt , i V Even though it is the only one of his sculptural groups resid- Lorenzo in Florence. Mchelangelo worked on the project Spo- ing in its original setting, we can only conjecture at what radically for fourteen years, but of the four tombs, he only Michelangelo had in mind when he conceived the still-incom- partially completed two. plete decoration in the Medici chapel. The artist conceived each tomb as a cohesive ensemble uni- Pope Clement VII (formerly Giulio de' Medici) charged fying architecture and sculpture. In a central niche, an effigy MIichelangelo worked on -i X ithe project sporadically for fourteen years, but of the four tombs, he only partially completed two. -
Michelangelo Buonarotti
MICHELANGELO BUONAROTTI Portrait of Michelangelo by Daniele da Volterra COMPILED BY HOWIE BAUM Portrait of Michelangelo at the time when he was painting the ceiling of the Sistine Chapel. by Marcello Venusti Hi, my name is Michelangelo di Lodovico Buonarroti Simoni, but you can call me Michelangelo for short. MICHAELANGO’S BIRTH AND YOUTH Michelangelo was born to Leonardo di Buonarrota and Francesca di Neri del Miniato di Siena, a middle- class family of bankers in the small village of Caprese, in Tuscany, Italy. He was the 2nd of five brothers. For several generations, his Father’s family had been small-scale bankers in Florence, Italy but the bank failed, and his father, Ludovico di Leonardo Buonarroti Simoni, briefly took a government post in Caprese. Michelangelo was born in this beautiful stone home, in March 6,1475 (546 years ago) and it is now a museum about him. Once Michelangelo became famous because of his beautiful sculptures, paintings, and poetry, the town of Caprese was named Caprese Michelangelo, which it is still named today. HIS GROWING UP YEARS BETWEEN 6 AND 13 His mother's unfortunate and prolonged illness forced his father to place his son in the care of his nanny. The nanny's husband was a stonecutter, working in his own father's marble quarry. In 1481, when Michelangelo was six years old, his mother died yet he continued to live with the pair until he was 13 years old. As a child, he was always surrounded by chisels and stone. He joked that this was why he loved to sculpt in marble. -
Guidanationalgallery.Pdf
A short visit to the National Gallery London (from the Early Renaissance to the Masters of the 16th Century) Viaggio d’istruzione a Londra a.s. 2016-2017 classi 4C e 4D Madonna and Child enthroned (later part of the 13th century) Margaritone d’Arezzo Room 51 Margaritone d’Arezzo was the first artist from Arezzo whose name we know and whose work survives. He was active during the middle decades of the 13th century. Margaritone’s given name was Margarito, but it was transcribed erroneously by Vasari as “Margaritone”. It is by this latter form that he is usually known today. This is one of the earliest pictures in the National Gallery, dating from the later part of the 13th cen- tury. We can see the Virgin Mary seated on a throne decorated with lions’ heads, and Christ enthroned in the lap of Mary. They’re both within an oval shape, called a ‘Mandorla’, which represents the heavenly realm, and which also contains a couple of angels swinging incense burners. Mary is wearing a crown typical of Byzan- tine art and, if you look at the Christ figure, although he’s the size of a baby he’s painted as a much ol- der child, almost as a little man, and he is wearing scholars’ robes and holds a scroll in his left hand. Again, these are ways of representing philosophers and men of wisdom in Byzantine and medieval Greek traditions. There’s also a hint of a change from the perspective-less art of the Byzantine and that’s with Mary’s feet. -
1876: Michelangelo and Rodin's Desires
chapter 1 of David J. Getsy, Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 29-57. 1 8 7 6 MICHELANGELOANDRODIN’SDESIRES Rodin’s position as the reputed father of modern sculpture rests on two interdependent claims: first, that he introduced into the medium of sculp- ture a deeper capacity for a personalized, expressive style and, second, that his characteristic approach toward sculptural practice and subject matter revolved around a more frank and engaged exploration of the nude body as the site of emotional, and often sexualized, investment. Over the course of his long career, Rodin increasingly came to be seen as the sculptor who implied or displayed sexual passion as a means to unleash the evocative power of the human form, thus rescuing sculpture from the supposed life- less conventionality of previous statues.1 As Leo Steinberg remarked, “Nineteenth-century sculpture was Baudelaire’s ‘tiresome art,’ dedicated chiefly to conventional communal goals. Rodin restored to inward expe- rience what had been for at least a century a branch of public relations.”2 This refocusing on “inward experience” in sculpture centered, for Rodin, primarily on the nude. As I discussed in the Introduction, Rodin’s liber- ation of sculpture from convention came to be seen as an analogue or a symptom of the sexual liberty many ascribed to both his work and his persona. In what follows, I shall discuss Rodin’s early formulation of this agenda beginning in his pivotal year of 1876. Just before his first major recogni- 19 (facing page) Galleria dell’Accademia, Florence, in 1882 with Michelangelo’s David and plaster casts from the 1875 Michelangelo exhibition. -
Michelangelo's Julius II Tomb As Template for the Sistine Chapel Ceiling
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2019 Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling Jillian Gates [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Gates, Jillian, "Sculpting in Marble and Fresco: Michelangelo's Julius II Tomb as Template for the Sistine Chapel Ceiling". Senior Theses, Trinity College, Hartford, CT 2019. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/754 Sculpting in Marble and Fresco: Michelangelo’s Julius II Tomb as Template for the Sistine Chapel Ceiling A Senior Thesis Presented By Jillian Gates To the Art History Department In Fulfillment of the Requirements for Honors in Art History Advisor: Professor Kristin Triff Trinity College Hartford, Connecticut May 2019 2 Table of Contents Table of Contents …………………………………………………………………………. 2 Chapter I: Introduction ……………………………………………………………………. 3 Chapter II: Julius II Tomb ……………………………………………………………….. 15 Chapter III: Sistine Chapel Ceiling ………………………………………………………. 33 Chapter IV: Conceptual Similarities ……………………………………………………… 47 Chapter V: A Shared Vision ………………………………………………………………. 54 Chapter VI: Figure Similarities …………………………………………………………… 58 Chapter VII: Consequences of Michelangelo’s Technique After the Ceiling …………… 64 Chapter VIII: Conclusion …………………………………………………………………… 71 Bibliography ………………………………………………………………………………….. 74 Appendix ……………………………………………………………………………………… 76 3 Chapter I: Introduction As a seminal artistic figure of the early Renaissance period, Michelangelo produced works of art that defined the canon of art. Through his early sculpted and painted works, the ambitions Michelangelo had for himself as an artist were evident. Not only were the works he created masterful for such a young age, but they also pushed the boundaries of existing artistic and stylistic techniques.