Michelangelo: the Early Years
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Regarding Michelangelo's "Bacchus" Author(S): Ralph Lieberman Source: Artibus Et Historiae, Vol
Regarding Michelangelo's "Bacchus" Author(s): Ralph Lieberman Source: Artibus et Historiae, Vol. 22, No. 43 (2001), pp. 65-74 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483653 Accessed: 20/05/2009 13:20 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=irsa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org RALPH LIEBERMAN RegardingMichelangelo's Bacchus Aftertelling his readers that -
Michelangelo Biography
Michelangelo Biography Michelangelo (1475 – 1564) Italian Renaissance sculptor, painter, poet and architect. One of the most influential Western artists of all time. “I saw the angel in the marble and carved until I set him free. “ – Michelangelo Short biography of Michelangelo Michelangelo Buonarroti was born on 6 March 1475, in a Florentine village called Caprese. His father was a serving magistrate of the Florentine Republic and came from an important family. However, Michelangelo did not wish to imitate his father’s career, and was attracted by the artistic world. At the time, this was considered an inferior occupation for a family of his standing. But, aged 13, Michelangelo was apprenticed to Domenico Ghirlandaio, the leading fresco wall painter in Florence. Here Michelangelo learned some of the basic painting techniques, and also taught himself new skills such as sculpting. Madonna of the stairs – Michelangelo’s earliest works His talents were soon noticed by one of the most powerful families in Florence – Lorezo de’ Medici. Here, at de Medici’s court, Michelangelo was able to learn from the classic Masters and he became determined to improve upon the great classics of Greek and Latin art. Michelangelo, was born in the heart of the Renaissance movement, at exactly the right place – Florence. But, despite being at the heart of the Renaissance, Florence was undergoing tremendous political turmoil. His first patrons, the de Medici’s, lost power and Michelangelo was forced to look elsewhere for commissions. In 1496, he travelled to Rome where he began a long relationship of doing commissions for the Popes who were making St Peter’s Basilica a pinnacle of Western art. -
The Art and Artifacts Associated with the Cult of Dionysus
Alana Koontz The Art and Artifacts Associated with the Cult of Dionysus Alana Koontz is a student at University of Wisconsin-Milwaukee graduating with a degree in Art History and a certificate in Ancient Mediterranean Studies. The main focus of her studies has been ancient art, with specific attention to ancient architecture, statuary, and erotic symbolism in ancient art. Through various internships, volunteering and presentations, Alana has deepened her understanding of the art world, and hopes to do so more in the future. Alana hopes to continue to grad school and earn her Master’s Degree in Art History and Museum Studies, and eventually earn her PhD. Her goal is to work in a large museum as a curator of the ancient collections. Alana would like to thank the Religious Studies Student Organization for this fantastic experience, and appreciates them for letting her participate. Dionysus was the god of wine, art, vegetation and also widely worshipped as a fertility god. The cult of Dionysus worshipped him fondly with cultural festivities, wine-induced ritualistic dances, 1 intense and violent orgies, and secretive various depictions of drunken revelry. 2 He embodies the intoxicating portion of nature. Dionysus, in myth, was the last god to be accepted at Mt Olympus, and was known for having a mortal mother. He spent his adulthood teaching the cultivation of grapes, and wine-making. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. Later in history, worshippers would perform their rituals in the cover of darkness, limiting the cult-practitioners to women, and were surrounded by myth that is sometimes interpreted as fact. -
Domenico Ghirlandaio an Old Man and His Grandson (Ca 1480-1490)
COVER ART Domenico Ghirlandaio An Old Man and His Grandson (ca 1480-1490) HE IDENTITIES of the 2 figures in this paint- ing the existence of entire extended families. Married ing by Domenico Ghirlandaio are un- women were under pressure to repopulate the family and known, but the picture conveys such a community by being almost continuously pregnant, ex- close relationship between them that it has posing themselves repeatedly to the pain and serious risks long been assumed that they are grandfa- of childbirth. Mortality rates among infants and chil- Tther and grandson. Ghirlandaio was among the busiest dren were very high; historians estimate that about half and best-known painters in Florence in the late 15th cen- of all children died before they were ten years old. Un- tury—Michelangelo trained in his workshop—and this der these harsh conditions, families were especially pleased work was almost certainly commissioned by a wealthy to have a healthy boy who could continue the family name Florentine family of that era. and help sustain the family economically on reaching Art of the time was moving beyond strictly religious adulthood and for whom no dowry would be needed. But subject matter. This painting can be considered an early a healthy girl could also help with domestic chores and psychological portrait, with a bit of landscape included in raised the prospect of creating advantageous new links the window at the upper right. Its main theme seems to between families through marriage. be bonding across the generations. Ghirlandaio pro- So, what about the grandfather’s nose? Evidently, vides visual clues suggesting a comfortable intimacy he had a rhinophyma, a cosmetically disfiguring but oth- between the older man and the boy: their chests touch, erwise benign condition thought to be the end stage of the man’s embracing left arm is reciprocated by the rosacea, a common facial dermatosis. -
Domenico Ghirlandaio 1 Domenico Ghirlandaio
Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic. -
Patrons and Facilitators of the Visual Arts in Quattrocento Florence
I Buonomini di San Martino: Patrons and Facilitators of the Visual Arts in Quattrocento Florence Samantha Hughes-Johnson “Beware of practicing your righteousness be- fore other people in order to be seen by them, for then you will have no reward from your Father who is in heaven. Thus, when you give to the needy, sound no trumpet before you, as the hypocrites do in the synagogues and in the streets, that they may be praised by others. Tru- ly, I say to you, they have received their reward. But when you give to the needy, do not let your left hand know what your right hand is doing, so that your giving may be in secret. And your Father who sees in secret will reward you.” Matthew VI: 1–4 Summary: The charitable activities carried out by the Buonomini di San Martino during the Quattrocento have been reasonably well documented by modern historians. Nevertheless, the patronage and financial aid bestowed on fifteenth-century Florentine artists and artisans by this lay confraternity remains unexplored. Accordingly, this article, by employing previously unpublished archival data, will demonstrate how the Buonomini used social networks to procure art- works for the confraternity. Furthermore, the investigation will estab- lish that the confraternity also provided financial aid to artists both famous and obscure who required temporary economic assistance. Founded in 1442 by Archbishop Antoninus of Florence (1389–1459) and aided by the munificence of Cosimo the Elder de’ Medici, the Good Men of Saint Martin brought relief to those who had fallen upon hard times but were considered too honourable to beg for themselves.1 Their charitable activities 1 Trexler, “Charity and the Defense of Urban Elites,” 87–89, states that the document that explains the Buonomini’s constitution is likely a copy of the original and dates from around 1480. -
A Little Rome at Home
A little Rome at home An exhibition of Michelangelo’s frescoes opens at MacArthur Center today Delphian Sybyl from “Michelangelo – A Different View.” The exhibition lets viewers see details they couldn’t spot at the Sistine Chapel. (Courtesy of Virginia Arts Festival ) BY DENISE M. WATSONSTAFF WRITER For the next three weeks, locals can take a Roman holiday in Norfolk. The Virginia Arts Festival and MacArthur Center are co-presenting “Michelangelo — A Different View,” which includes high-resolution reproductions of the artist’s famous frescos from the Sistine Chapel in Rome. The exhibition comprises nearly 50 pieces by Renaissance masters, primarily Michelangelo’s depictions of Biblical stories, from the creation of Adam to Christ’s administering the last judgment. Also in the show are 14 reproductions of the “Quattrocento” frescoes that decorate some of the chapel’s walls, which were completed by Pietro Perugino, Sandro Botticelli, Cosimo Rosselli and Domenico Ghirlandaio, one of Michelangelo’s teachers. Images of the interior and exterior of the Sistine Chapel are also included. The fabric panels, the largest more than 18 feet tall, will be displayed in the former Forever 21 on the second floor of the mall. The exhibition allows viewers to see details they couldn’t normally spot, even in a visit to Rome. The chapel’s ceiling hovers 70 feet above visitors’ heads. Michelangelo spent four years, 1508 to 1512, transforming the ceiling of the chapel, working from special scaffolding he created. He returned to the chapel and painted the elaborate “Last Judgment” on the altar wall between 1536 and 1541. -
Title a New Proposal on the Chronological Order of the Moses
Title A new proposal on the chronological order of the Moses and Christ frescoes in the Sistine Chapel Sub Title システィーナ礼拝堂装飾壁画の 〈モーセ伝〉 と 〈キリスト伝〉 連作の制作順序について Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2019 Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.34 (2019. ) ,p.1- 26 Abstract Notes 挿図 Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10065043-2019063 0-0001 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel 1 A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel Fumika Araki Introduction In 1481, Pope Sixtus IV della Rovere (papacy: from 1471 to 1484) invited four Umbrian and Florentine painters, Pietro Perugino (c. 1450–1523), Cosimo Rosselli (1439–1507), Domenico Ghirlandaio (1449–1494) and Sandro Botticelli (c. 1445– 1510), to Rome to decorate the entire walls of the pontifical chapel taking his name, the Sistine Chapel [Fig. 1]. These painters were considered to be the most skillful artists at that time and all of them had already managed their own workshop. The walls of the chapel were horizontally divided into three registers [Fig. -
The Dionysian Background of Ephesians 5:18 Author: Cleon L
Journal: Bibliotheca Sacra Volume: BSAC 136:543 (Jul 1979) Article: The Dionysian Background of Ephesians 5:18 Author: Cleon L. Rogers, Jr. The Dionysian Background of Ephesians 5:18 Cleon L. Rogers, Jr. [Cleon L. Rogers, Jr., Director, German Theological Seminary, Seeheim, Germany.] In Ephesians 5:18, Paul wrote, “And be not drunk with wine, in which is excess, but be filled with the Spirit” (AV). Why does he contrast drunkenness with the filling of the Holy Spirit? Often this question is answered by referring to one or more comparisons between drunkenness and the Spirit’s filling, such as submission to and dominance by an outside control, loss of one’s rational functions, etc. But is this really what Paul was saying? Is it not possible that Paul was referring to something more explicit in his own culture? This article is a presentation of the view that the wild, drunken practices connected with the worship of Dionysus or Bacchus, the god of wine, form the general cultural background for Paul’s two commands in Ephesians 5:18.1 Interpreting a passage of Scripture in its cultural setting is not new. It is a well-known and widely practiced axiom that any writing must be interpreted in the light of its cultural setting. Some obvious cultural or historical matters forming the background of the New Testament are clear and have been the subject of many profitable studies.2 In addition to specific culturally couched terms, there is the general cultural New Testament background consisting of historical, social, economic, and religious conditions. -
60B. Early Italian Renaissance
GENDER ROLES and RELATIONSHIPS: EARLY ITALIAN RENAISSANCE: (Paintings by Sandro Botticelli and Domenico Ghirlandaio) EARLY ITALIAN RENAISSANCE Online Links: Sandro Botticelli – Wikipedia The Birth of Venus – Wikipedia Primavera – Wikipedia Birth of Venus - Smarthistory Primavera – Smarthistory Fra Filippo Lippi's Madonna and Child – Smarthistory Man and Woman at a Casement - Smarthistory Fra Filippo Lippi. Madonna and Child with Angels, c. 1455, tempera on wood Fra Filippo Lippi (c. 1406-1469) was the son of a Florentine butcher with too many children to support. He and one of his brothers were therefore placed in the Camaldolese monastery of the Carmine. Unlike Fra Angelico, however, Filippo lacked the temperament of a friar. At one point, he had several nuns living in his house, allegedly using them as models. When one of the nuns, Lucrezia Buti, produced a son, Filippo was brought to trial and tortured. But he was fortunate in having the backing of Cosimo de’Medici and the humanist pope, Pius II. They arranged for him to withdraw from the Order, marry Lucrezia, and have their son Filippino legitimized. The prominent rock formations directly behind Christ’s head refer to the Church and the distant city to the heavenly Jerusalem. At the left, the landscape opens into a body of water, alluding to Mary’s association with the sea. In this painting, there is a particular emphasis on the motif of the pearl, which is a product of the sea. Small pearl clasps hold together the embroidered pillowcase on the arm rest and are repeated in Mary’s hair. Their spherical shape was related to the ideal Platonic form adopted by Renaissance thinkers and they also symbolize the Immaculate Conception of Mary, the Incarnation of Christ, and the Word of God. -
Cultural Heritage and Sustainable Forest Management: the Role of Traditional Knowledge
CULTURAL HERITAGE AND SUSTAINABLE FOREST MANAGEMENT: THE ROLE OF TRADITIONAL KNOWLEDGE PROCEEDINGS OF THE CONFERENCE 8-11 June, 2006, Florence, Italy Volume 2. International Conference on Cultural Heritage and Sustainable Forest Management: the role of traditional knowledge, held on 8-11 June, 2006 in Florence, Italy Organized by: IUFRO Task Force on Traditional Forest Knowledge IUFRO Research Group on Forest and Woodland History Ministero Per le Politiche Alimentari, Agricole e Forestali – Roma Collaborating institutions USDA – Forest Service Italian Academy of Forestry Science Italian Forest State Corp University of Florence City of Florence Regional Government of Tuscany UNESCO World Heritage Centre FAO MCPFE Liaison Unit Warsaw Edited by: John Parrotta, Mauro Agnoletti & Elisabeth Johann Published by: Ministerial Conference on the Protection of Forests in Europe Liaison Unit Warsaw ul. Bitwy Warszawskiej 1920 r. nr 3 00-973 Warsaw, Poland tel.: +48 22 331 70 31 tel./fax: +48 22 331 70 32 e-mail: [email protected] www.mcpfe.org Disclaimer This publication comprises the presentations and outcome of the international conference Cultural Heritage and Sustainable Forest Management: the role of traditional knowledge, held on 8-11 June, 2006 in Florence, Italy. They refl ect the views of the authors which do not necessarily correspond to those of the Ministerial Conference on the Protection of Forests in Europe (MCPFE). Neither the authors ,editors, the MCPFE, nor any person acting on their behalf are responsible for the use which might be made of the information contained in this publication. Design, layout and production: www.meander.net.pl © Ministerial Conference on the Protection of Forests in Europe, 2006 VOLUME 2. -
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.