DOCSLIB.ORG

Michelangelo's Inner Anatomies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Michelangelo's Inner Anatomies The Pennsylvania State University Press University Park, Pennsylvania Michelangelo's Inner Anatomies CHRISTIAN K. KLEINBUB Contents List of Illustrations ix Acknowledgments xiii Introduction i 1 THE LIVER AND DESIRE 17 2 THE HEART UNDER SIEGE 53 3 THE LOVE OF THE HEART 83 4 FAITH IN THE HEART io5 5 THE BRAIN, JUDGMENT, AND MOVEMENT 131 Conclusion 163 Notes 183 Bibliography 211 Index 229 Illustrations 1 Michelangelo, Last Judgment, ca. 1536-41 xvi 2 Detail of (a) Michelangelo, Crucijixion of Peter, ca. 1545-50; detail (b) of Michelangelo, The Dream or II Sogno, ca. 1533; detail of (c) Michelangelo, Last Judgment, ca. 1536-41 3 3 Michelangelo, David, ca. 1501-04 6 4 Michelangelo, Pietd, ca. 1498-99 7 5 Detail of Michelangelo, Tomb of Giuliano de Medici, ca. 1525 8 6 (a) Detail of Michelangelo and Pontormo, Venus and Cupid, ca. 1532-33; (b) detail of Michelangelo, Dying Slave, ca. 1513-16; (c) detail of Michelangelo, Brazen Serpent, ca. 1508-12; (d) detail of Michelangelo, Planfor the Church ofSan Giovanni dei Fiorentini, ca. 1559-60 11 7 Michelangelo (attrib.), Rape of Ganymede, ca. 1532 16 8 Michelangelo, Punishment ofTityus, ca. 1532 17 9 Detail of Michelangelo, Resurrection of Christ (verso of Punishment of Tityus), ca. 1532 26 10 Michelangelo, Creation ofAdam, ca. 1508-12 26 11 Michelangelo, The Raising ofLazarus, ca. 1516 26 12 Detail of Michelangelo (attrib.), Rape of Ganymede, ca. 1532 26 13 Detail of Michelangelo, Punishment ofTityus, ca. 1532 28 14 Andreas Vesalius, Anatomized Torso, from De humani corporisfabrica (Basel, 1543) 28 15 Detail of Michelangelo, Punishment ofTityus, ca. 1532 29 16 Detail of Michelangelo, Brazen Serpent, ca. 1508-12 34 17 Detail of Michelangelo, Last Judgment, ca. 1536-41 35 18 Detail of Michelangelo, Last Judgment, ca. 1536-41 36 19 Michelangelo, Dying Slave, ca. 1513-16 41 20 Michelangelo, Rebellious Slave, ca. 1513-16 41 21 Detail of Michelangelo, Dying Slave, ca. 1513-16 43 22 Detail of Michelangelo, Dying Slave, ca. 1513-16 44 23 Detail of the ape head visible behind figure's left knee in Michelangelo, Rebellious Slave, ca. 1513-16 44 24 Michelangelo, Awakening Slave, ca. 1520-23 49 25 Michelangelo, Madonna and Child, ca. 1524-34 50 26 Michelangelo, The Archers, ca. 1530 55 27 Michelangelo, Fortification Drawing, ca. 1528-29 64 28 Francesco di Giorgio Martini, Church-Man, 66 from the Trattato di architettura, ca. 1475-95 29 Francesco di Giorgio Martini, City-Man, ca. 1475-95 67 30 Michelangelo, Fortification Drawing, ca. 1528-29 72 31 Michelangelo, Fortification Drawing, ca. 1528-29 72 32 Michelangelo, Fortification Drawing, ca. 1528-29 73 33 After Francesco di Giorgio Martini, Diagram ofthe Visual Pyramid Entering the Eye ofthe Beholder, from Trattato I 74 34 Michelangelo, Fortification Drawing, ca. 1528-29 75 35 Michelangelo, Fortification Drawing, ca. 1528-29 75 36 Michelangelo, Fortification Drawing, ca. 1528-29 76 37 Michelangelo, Fortification Drawing, ca. 1528-29 (verticalized) 77 38 Leonardo da Vinci, Cross Section of Eye with Visual Rays, from Codex Atlanticus, ca. 1478-1519 77 39 Leonardo da Vinci, Study ofthe Eyes, from Codex Atlanticus, ca. 1478-1519 77 40 Michelangelo, Study ofthe Eyes, ca. 1526 78 41 Teofilo Gallaccini, Fortress in Shape of Human Head, from L'idea della Fortificazione, ca. 1620S-30S 79 42 Michelangelo and Pontormo, Venus and Cupid, ca. 1532-33 82 43 Agnolo Bronzino, Dante, ca. 1532-33 84 44 Giorgione (with Titian), The Sleeping Venus, ca. 1510 84 Detail of and 45 Michelangelo Pontormo, Venus and Cupid, ca. 1532-33 85 Detail of and 46 Michelangelo Pontormo, Venus and Cupid, ca. 1532-33 85 Detail of and 47 Michelangelo Pontormo, Venus and Cupid, ca. 1532-33 86 Detail of and 48 Michelangelo Pontormo, Venus and Cupid, ca. 1532-33 88 49 Michelangelo, Victory, ca. 1532-34 88 Detail of and 50 Michelangelo Pontormo, Venus and Cupid, ca. 1532-33 89 51 Michelangelo, Venus and Cupid, ca. 1532 89 Palma il 52 Vecchio, Venus Disarming Cupid, ca. 1523-24 89 53 Agnolo Bronzino, with Venus and Allegory Cupid, ca. 1544-45 91 54 Jan Saenredam (after Hendrick Venus and Goltzius), Cupid, ca. 1592 92 Titian, Venus ca. 55 ofUrbino, 1538 ^g 56 Detail of Michelangelo and Pontormo, Venus and Cupid, ca. 1532-33 99 Sandro 57 Botticelli, Venus and Mars, ca. 1485 I00 Sandro 58 Botticelli, Pallas and the ca. Centaur, 1482 IOI and 59 Michelangelo Pontormo, Noli me ca. tangere, 1531—32 104 60 Fra Angelico, Noli me tangere, ca. 1438-50 IQy 61 Sandro Botticelli, Noli me tangere, ca. 1490 I0g x ILLUSTRATIONS 62 Andrea del Sarto, Noli me tangere, ca. 1510 108 Detail of and 63 Michelangelo Pontormo, Noli me tangere, ca. 1531-32 109 Noli 64 Titian, me Tangere, ca. 1511-12 hi Detail of 65 Michelangelo, Last Judgment, ca. 1536-41 hi 66 Michelangelo, Pieta, ca. 1547-53 112 Albrecht Noli me 67 Diirer, tangere, ca. 1509-11 n3 68 Andrea del Verrocchio, Incredulity of Saint Thomas, finished 1472 114 69 Titian, Mary Magdalen, ca. 1532-34 127 Brazen 70 Michelangelo, Serpent, ca. 1508-12 133 7i Detail of Michelangelo, Brazen Serpent, ca. 1508-12 136 72 Michelangelo, Brazen Serpent, ca. 1520-25 137 73 Michelangelo, Self-Portrait on Scaffold, ca. 1509-10 138 74 Augustus of Ancona, Opusculum perutile de cognitione animae (Bologna, 1503) 140 75 Johannes de Ketham, Disease Man, from Fasiculo di medicina (Venice, 1494) 141 76 Detail of Baccio Bandinelli, Hercules and Cacus, ca. 1527-34 r43 77 Detail of Agnolo Bronzino, Allegory with Venus and Cupid, ca. 1545 I43 78 Leonardo da Vinci, Studies ofthe Brain, ca. 1493-94 I43 79 Michelangelo, The Dream or II Sogno, ca. 1533-34 H4 80 Detail of Michelangelo, The Dream or II Sogno, ca. 1533-34 145 8i Sebastiano del Piombo (with Michelangelo), Raising ofLazarus, ca. 1517-19 146 82 Albrecht Diirer, Standing Figures, from Four Books on Human Proportion (Nuremberg, 1528) 152 83 Michelangelo, Conversion of Saul, ca. 1542-50 155 84 Michelangelo, Crucifixion of Peter, ca. 1542-50 156 85 Detail of Michelangelo, Conversion of Saul, ca. 1542-50 x57 86 Detail of Michelangelo, Conversion of Saul, ca. 1542-50 158 87 Detail of Michelangelo, Crucifixion of Peter, ca. 1542-50 !59 88 Detail of Michelangelo, Crucifixion of Peter, ca. 1542-50 *59 89 Detail of Michelangelo, Crucifixion of Peter, ca. 1542-50 161 90 Detail of Michelangelo, Crucifixion of Peter, ca. 1542-50 161 9i Agnolo Bronzino (designer), Joseph and Potiphar's Wife, ca. 1545-53 164 92 Detail of Agnolo Bronzino (designer), Joseph Interprets the Dream of Pharaoh, ca. 1545-53 164 93 Detail of Agnolo Bronzino (designer), Joseph Receiving Benjamin, ca. 1545-53 165 94 Andreas Vesalius, Musculature Structure ofa Man, from De humani corporisfabrica (Basel, 1543) 166 ILLUSTRATIONS xi Muscles the Male 95 Andreas Vesalius, Front View ofthe Deeper of Human Body, from De humani corporis fabrica (Basel, 1543) 96 Andreas Vesalius, Anatomized Bodyfrom Left Side, from J66 De humani corporis fabrica (Basel, 1543) libri XV 97 Realdo Colombo, frontispiece, De re anatomica (Venice, 1559) I^7 98 fitienne Duperac, View ofthe Campidoglio as Re-designed by Michelangelo, from Speculum Romanae Magnificentiae (Rome, 1569) 167 Giovanni dei 99 Michelangelo, Planfor the Church of San Fiorentini, J68 ca. 1559-60 too Fra Filippo Lippi, Annunciation, ca. 1440 17° 101 Fra Filippo Lippi, Annunciation, ca. 1450-53 17° 102 Marcello Venusti (after Michelangelo), Annunciation, after 1546 171 103 Michelangelo (attrib.), Annunciation, ca. 1546 172 104 Marcello Venusti (after Michelangelo), The Annunciation, ca. 1551-55 173 105 Michelangelo, Annunciation, ca. 1551-55 173 106 Michelangelo, Annunciation, ca. 1545-46 174 107 Michelangelo, Annunciation, ca. 1545-46 174 108 Michelangelo, The Virgin Annunciate, ca. 1545-51 175 109 Michelangelo, The Angel ofthe Annunciation, ca. 1545-51 175 no Andreas Vesalius, frontispiece, De humani corporisfabrica (Basel, 1543) 180 i i i Andreas Vesalius, second frontispiece, De humani corporisfabrica (Basel, 1555) 180 ii2 Michelangelo, Ignudo, ca. 1508-12 181 xi i ILLUSTRATIONS.
Load more

Recommended publications
  • NAT TURNER's REVOLT: REBELLION and RESPONSE in SOUTHAMPTON COUNTY, VIRGINIA by PATRICK H. BREEN (Under the Direction of Emory
    NAT TURNER’S REVOLT: REBELLION AND RESPONSE IN SOUTHAMPTON COUNTY, VIRGINIA by PATRICK H. BREEN (Under the Direction of Emory M. Thomas) ABSTRACT In 1831, Nat Turner led a revolt in Southampton County, Virginia. The revolt itself lasted little more than a day before it was suppressed by whites from the area. Many people died during the revolt, including the largest number of white casualties in any single slave revolt in the history of the United States. After the revolt was suppressed, Nat Turner himself remained at-large for more than two months. When he was captured, Nat Turner was interviewed by whites and this confession was eventually published by a local lawyer, Thomas R. Gray. Because of the number of whites killed and the remarkable nature of the Confessions, the revolt has remained the most prominent revolt in American history. Despite the prominence of the revolt, no full length critical history of the revolt has been written since 1937. This dissertation presents a new history of the revolt, paying careful attention to the dynamic of the revolt itself and what the revolt suggests about authority and power in Southampton County. The revolt was a challenge to the power of the slaveholders, but the crisis that ensued revealed many other deep divisions within Southampton’s society. Rebels who challenged white authority did not win universal support from the local slaves, suggesting that disagreements within the black community existed about how they should respond to the oppression of slavery. At the same time, the crisis following the rebellion revealed divisions within white society.
    [Show full text]
  • {Download PDF} Michelangelo and the Popes Ceiling Ebook, Epub
    MICHELANGELO AND THE POPES CEILING PDF, EPUB, EBOOK Ross King | 384 pages | 08 May 2006 | Vintage Publishing | 9781844139323 | English | London, United Kingdom Michelangelo and the Pope's Ceiling by Ross King A panorama of illustrious figures converged around the creation of this magnificent work-from the great Dutch scholar Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history. Four years earlier, at the age of twenty-nine, Michelangelo had unveiled his masterful statue of David in Florence; however, he had little experience as a painter, even less working in the delicate medium of fresco, and none with the curved surface of vaults, which dominated the chapel's ceiling. The temperamental Michelangelo was himself reluctant, and he stormed away from Rome, risking Julius's wrath, only to be persuaded to eventually begin. Michelangelo would spend the next four years laboring over the vast ceiling. He executed hundreds of drawings, many of which are masterpieces in their own right. Contrary to legend, he and his assistants worked standing rather than on their backs, and after his years on the scaffold, Michelangelo suffered a bizarre form of eyestrain that made it impossible for him to read letters unless he held them at arm's length. Nonetheless, he produced one of the greatest masterpieces of all time, about which Giorgio Vasari, in his Lives of the Artists, wrote, 'There is no other work to compare with this for excellence, nor could there be. Battling against ill health, financial difficulties, domestic problems, inadequate knowledge of the art of fresco, and the pope's impatience, Michelangelo created figures-depicting the Creation, the Fall, and the Flood-so beautiful that, when they were unveiled in , they stunned his onlookers.
    [Show full text]
  • 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.
    [Show full text]
  • Renaissance Art in Rome Giorgio Vasari: Rinascita
    Renaissance Art in Rome Giorgio Vasari: rinascita • Early Renaissance: 1420-1500c • --1420: return of papacy (Martin V) to Rome from Avignon • High Renaissance: 1500-1520/1527 • -- 1503: Ascension of Julius II as Pope; arrival of Bramante, Raphael and Michelangelo; 1513: Leo X (Medici pope) • --1520: Death of Raphael; 1527 Sack of Rome • Late Renaissance (Mannerism): 1520/27-1600 • --1563: Last session of Council of Trent on sacred images Renaissance in Rome--Political • Reunited Papacy in Rome -1309-1377: Papacy moves to Avignon -1378-1417: Great Schism – two popes (Roman and French) and then three; efforts to solve Schism lead to – 1409-1438: Conciliar Movement – alternative theory of Church government: highest authority is council of bishops not pope – 1417: Martin V (Roman from Colonna family) is elected by Council of Constance – 1420: Arrives in Rome—papal court re-established • Papalism vs. Conciliarism and emphasis by Popes of papal primacy / primatus Petri Rome in the Renaissance Jubilee: Seven pilgrimage churches of Rome (Jubilee of 1575) St. Peter’s, St. John Lateran, Santa Maria Maggiore, St. Paul Outside the Walls, Santa Croce, St. Lawrence Outside the Wall, Santuario della Madonna del Divino Amore Renaissance Palaces: Palazzo Venezia, begun 1455 Palazzo della Cancelleria, begun1489 Palazzo della Cancelleria, interior courtyard Palazzo Farnese, 1517-1589 Renaissance Art in Rome--characteristics • Patronage of popes and cardinals of humanists and artists from Florence and central/northern Italy • Religious art: focus shifts from a divine symbolism to a humanistic realism —human centrality, measure and beauty • Recuperation of classical art (going “ad fontes”) --Study of classical architecture, statuary and painting recovery of Vitruvius’ De architectura (1414—Poggio Bracciolini) • Application of mathematics to art/architecture: elaboration of single point perspective – Filippo Brunelleschi 1414 (rules of mathematical perspective) – L.
    [Show full text]
  • Fugitive Slave Advertisements and the Rebelliousness of Enslaved People in Georgia and Maryland, 1790-1810
    1 Fugitive Slave Advertisements and the Rebelliousness of Enslaved People in Georgia and Maryland, 1790-1810. Shaun Wallace Date of Submission: September 2017 This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts and Humanities University of Stirling 3 Abstract This dissertation is a systematic investigation of fugitive slave advertisements aiming to understand the nature of fugitives’ rebelliousness in Georgia and Maryland between 1790 and 1810. Hitherto, historical inquiry pertaining to slave fugitivity has focused on other states and other times. This study provides a close reading of 5,567 advertisements pertaining to runaway slaves and analyses extracted data pertaining to the prosopography of 1,832 fugitives and their fugitivity. Its main research questions focus on advertisements as manifest records of rebellion. Who were the fugitives? What do the fugitive slave advertisements reveal about enslaved people’s contestation of slaveholders’ authority? The principal findings are as follows. First, the typography and iconography of fugitive slave advertisements were expressly intended to undermine the individualism and agency of enslaved people. Second, with regard to Georgia and Maryland, while there were spikes between 1796 and 1798 and 1800 and 1801, fugitivity was a daily occurrence, and thus a normative act of rebellion distinct from insurrection. Third, quantitative analysis indicated fugitives were typically young males, in their twenties, likely to escape at any time of the year; Georgia fugitives were more likely to escape in groups. Fourth, qualitative analysis of advertisers’ descriptions of fugitives revealed evidence of challenges to their authority. Depictions of fugitives’ character and remarks or notes on their behaviour constitute evidence of observed characteristics.
    [Show full text]
  • A Snitch in Time: an Historical Sketch of Black Informing During Slavery Andrea L
    Marquette Law Review Volume 97 Article 4 Issue 2 Winter 2013 A Snitch in Time: An Historical Sketch of Black Informing During Slavery Andrea L. Dennis University of Georgia School of Law, [email protected] Follow this and additional works at: http://scholarship.law.marquette.edu/mulr Part of the Law and Society Commons Repository Citation Andrea L. Dennis, A Snitch in Time: An Historical Sketch of Black Informing During Slavery, 97 Marq. L. Rev. 279 (2013). Available at: http://scholarship.law.marquette.edu/mulr/vol97/iss2/4 This Article is brought to you for free and open access by the Journals at Marquette Law Scholarly Commons. It has been accepted for inclusion in Marquette Law Review by an authorized administrator of Marquette Law Scholarly Commons. For more information, please contact [email protected]. 34609-mqt_97-2 Sheet No. 37 Side A 03/17/2014 11:30:34 DENNIS-10 (DO NOT DELETE) 3/10/2014 12:31 PM A SNITCH IN TIME: AN HISTORICAL SKETCH OF BLACK INFORMING DURING SLAVERY ANDREA L. DENNIS Although potentially offering the benefits of crime control and sentence reduction, some Blacks are convinced that cooperation with criminal investigations and prosecutions should be avoided. One factor contributing to this perspective is America’s reliance on Black informants to police and socially control Blacks during slavery, the Civil Rights Movement, and the Wars on Drugs, Crime, and Gangs. Notwithstanding this historical justification for non-cooperation, only a few informant law and policy scholars have examined closely the Black community’s relationship with informing. Furthermore, even among this small group, noticeably absent are historical explorations of Black America’s experience with informing during slavery.
    [Show full text]
  • The Fragment As a Manifestation of Non-Finito in Auguste Rodin's
    The Fragment as a Manifestation of Non-Finito in Auguste Rodin’s Oeuvre A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of the Arts By Sarah Bartram May, 2016 Thesis written by Sarah Bartram B.A., The University of Akron, 2014 M.A., Kent State University, 2016 Approved by _____________________________________ Albert Reischuck, MA, Advisor ____________________________________ Christine Havice, Ph.D., Director, School of Art _____________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of Arts TABLE OF CONTENTS LIST OF FIGURES…………………………………..…………………………………..iv ACKNOWLEDGEMENTS...……………………………………………………………vii I. INTRODUCTION……………..………………………………………………………..1 II. NON-FINITO, MICHELANGELO, AND RODIN’S WORKSHOP………………….6 III. THE AMPUTATED FORM……………………………………..………………..…19 IV. THE ISOLATED BODY PART.…………………………………………………....30 V. ASSEMBLAGES………………………………..……………………………………39 VI. CONCLUSION………………………………………………………………………55 BIBLIOGRAPHY………………………………………………………………………..56 FIGURES……………………………………………………………………..………….61 iii LIST OF FIGURES Figure Artist, Title, Date Page 1. Auguste Rodin, The Walking Man,1907,………………………………………...…..60 2. Auguste Rodin, Danaïd,1889. ……………………………………………………....60 3. Auguste Rodin, Fugit Amor, ca. 1885, Marble carved ca. 1892-1894………..…......61 4. Auguste Rodin, I Am Beautiful, modeled 1885……………………………………...61 5. Auguste Rodin, St. John the Baptist, 1878……………………………………..……62 6. Auguste Rodin, The Shade, modeled 1881-1886…………………………………….62
    [Show full text]
  • Julius II | Michelangelo
    11 Patrick Yeung Havc 168 Pf. Langdale February 3, 2010 A Life Time Carved in Marble The tomb of Julius II remains one of the most interesting artworks by Michelangelo, because of the evolution it had gone through, and also the ambition expressed by both the artist and his patron, Giuliano della Rovere, more commonly known as Pope Julius II. This paper will focus on the tomb commissioned by Pope Julius II (Fig. 1) by Michelangelo in March 1505.11 The tomb, in the beginning, served as an opportunity for great expression of power and status. While this purpose stayed the same for Julius II and the Rovere family as time passed by, the tomb took on a different meaning for the artist. Through an analysis of the project’s background and its sculptures, along with the possible symbolism and mythical allusions, we shall understand its political and spiritual meanings to both Michelangelo and Julius II. The work is a result of the relationship between the patron and the artist; it is much more than just an immense monument. By studying the tomb’s many aspects mentioned above, we will be able to grasp the pope’s original intent for a glorious demonstration of power, and how time truncated it and made it Michelangelo’s burden. Figure1-Michelangeloandassistants,TombofPopeJuliusII(S.PietroinVincoli,Rome),1545. 11HerbertvonEinem.Michelangelo,trans.RonaldTaylor(London:Methuen&COLTD,1973),39. 22 The tomb began as an extremely ambitious project, but as time went on with one misfortune after another, the result turned out to be a much-reduced version.
    [Show full text]
  • MICHELANGELO: Los Angeles/Italy Professor Frank ARTH 373 Fall 2013/14 Course Description This Course Is Designed As an I
    MICHELANGELO: Los Angeles/Italy Professor Frank ARTH 373 Fall 2013/14 Course Description This course is designed as an introduction to the life and work of Michelangelo Buonarroti (1475-1564). We will investigate his painting, sculpture and architecture, while considering its context within the major urban cultural centers in which he worked: Florence and Rome. The course will proceed chronologically, but will vary from week to week as to relevant themes and methodological approaches to the career of arguably the most influential of all Renaissance artists. Among those topics to be examined during the course are: development and dissolution of a classical vocabulary; relationships between style and technique; art, biography and self promotion; the relationship between Christianity and sexuality for Michelangelo and the Cinquecento; patronage and context in Florence and Rome; the development of classical form; meaning and controversy in the cleaned Sistine Chapel Ceiling. Course Outcomes Students in this course should have a good understanding of the relationship between the cultural, political and artistic context that Michelangelo was a part of and how this affected his art. Changing geographic locations and differences in patronage also should be clearly understood throughout this course. How Michelangelo’s visual expression is related to his poetry should also be clear. The evolution of his style from about 1480 until his death is 1564 should also be clearly understood. Finally, the role that Vasari’s writing has in establishing Michelangelo’s reputation, should be understood. Course Requirements Paramount to the successful completion of this course is attendance at each lecture. The development of the materials in this class derives from the weekly lectures: you will be lost if you rely only on the reading.
    [Show full text]
  • Michelangelo and Pope Paul III, 1534-49
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome Erin Christine Sutherland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Archaeology and Art History Commons Recommended Citation Sutherland, Erin Christine, "Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome" (2015). Arts & Sciences Electronic Theses and Dissertations. 451. https://openscholarship.wustl.edu/art_sci_etds/451 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, chair Marisa Bass Daniel Bornstein Nathaniel Jones Angela Miller Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome by Erin Sutherland A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of
    [Show full text]
  • Improvement and Emulation of Classical Forms As with Painting
    Improvement and Emulation of Classical Forms As with painting and architecture of the period, sculpture in the Renaissance upheld classical principles and form. The revival of antiquity resulted in the desire to unearth, collect, and display fragments of ancient sculpture, a high stakes trade in the Renaissance. Sculptors studied the classical human forms, emulating the harmony in structure and composition as well as the geometrical proportions and realistic, yet often idealized, musculature. The Florentine sculptor Donatello (1386-1466) created the first freestanding sculpture since antiquity with his St. Mark for the Or San Michele, a common guildhall, in Florence beginning in 1411. The draperies of the figure’s robes fall and fold as they would on an actual human body. In the 1440s, Donatello sculpted the first life size nude since antiquity with his bronze David, which was also free standing. Both of these compositions, as well as Donatello’s St. George (c. 1415-1417) at Or San Michele, are classical in form, and the figures display thoughtfulness and determination. These sculptures reflect the influence of humanist belief in the dignity of human experience. The classic features of Renaissance sculpture, including the free standing nudes, served to reinforce the connection between Renaissance states in Italy and their ancient Roman heritage. Renaissance sculptors also emulated the drama and emotion the bodies conveyed, especially those of the Hellenistic period associated with ancient Rome. Hellenistic style ranges from the death of Alexander the Great in 323 B.C.E. to the Octavian’s defeat of Marc Antony at the Battle of Actium in 31 B.C.E.
    [Show full text]
  • Michelangelo Spring 2011 TTH 9:15-10:30
    Prof. Victor Coonin Office Hours: TTH 12:30-2:00:15 412 Clough, x3824 Or by Appointment [email protected] Art 356: Michelangelo Spring 2011 TTH 9:15-10:30 Course Objectives and Description This course is designed as a rigorous study of the art of Michelangelo Buonarroti (1475-1564). It will be conducted partly as lecture and partly as a seminar through which students develop their own expertise in particular areas of Michelangelo scholarship. Various methodological approaches will be introduced, and students will grapple with the most current issues in Michelangelo studies and acquire basic research skills necessary for further research in art history. Through lectures, the instructor will acquaint students with an overview of the artist‘s life and career. Students will supplement these lectures with class presentations on specific works of art. Extensive reading, independent research, and original interpretation of difficult material is expected. Note: sem∙I∙nar: a group of advanced students studying under a professor with each doing original research and all exchanging results through reports and discussions Webster‘s Collegiate Dictionary Students in this class MUST be prepared to do original research, exchange their results articulately, and engage in group discussion. Required Textbooks: Anthony Hughes, Michelangelo William Wallace, Michelangelo: The Artist, the Man and his Times Michelangelo: Life, Letters, and Poetry, trans. By George Bull and Peter Porter Additional readings as assigned. Optional Books Giorgio Vasari, Lives of the Artists, any translation of 1568 edition (with important chapter on Michelangelo). Many free versions are available online. William E. Wallace, Michelangelo: The Complete Sculpture, Painting, Architecture (this useful book is available from discounters very cheaply and is highly recommended).
    [Show full text]