Michelangelo Buonarroti

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Caroline Mc Corriston Michelangelo’s Treatment of the Figure Italian Renaissance artists became anatomists by necessity, as they attempted to refine a more lifelike, sculptural portrayal of the human figure. Michelangelo dissected many human bodies in order to investigate the muscles and understand the nude in a more modern way. Michelangelo's study of beauty in the human body and portrayal of perfection in his paintings could only be surpassed in his sculpture. He was the greatest ever painter of the male nude. No artist who has followed him in this area has remained uninfluenced by his figures. Also, his figurative expressiveness remains unequalled. These achievements - exemplified by his iconic fresco The Creation of Adam on the ceiling of the Sistine Chapel - had a lasting impact on the theory and practice of fine art. In sculpture - his main forte - his understanding of space, form and appearance remains unmatched, as does his ability to express a wide variety of differing emotions in three-dimensional marble, all of which makes him one of the greatest sculptors we have seen. However the females from his paintings arguably appear to be men with breasts. For many women, especially women from the upper classes, there was strict control over their dress and comportment in the Renaissance. It’s also true that many of the female figures in renaissance paintings were based on male models. Michelangelo saw himself as a sculptor first and foremost and his sculptural thinking can be seen in his drawings and paintings. Michelangelo celebrated the body as a mirror of God’s perfection. ● Monumental heroic male nudes ● Emphasis on the volume of his figures ● Careful attention to anatomical detail ● Use of movement and gesture for expression ● Emotional expression more important than a technically perfect finish ● Use of contrapposto ● Influence of Roman and Greek sculpture ● Idealisation of the human figure ● Use of the human body to express emotions ● Figures imitate ancient roman sculptural forms Caroline Mc Corriston ● Frequent use of foreshortening in his figures ● Figures modelled with both colour and tone .

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The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c.
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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.
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;;;;;;;;;;;;;;;;;;;;;; Art 360 Final Term Paper at the start of the Renaissance. Neo-Platonic thought reigned in art and literature. During an age of Annibale Carracci and break-through science and technology, artists of the succeeding Baroque age became ever more interested the Palazzo Farnese in the macroscopic spaces of the celestial world. The Julianna Ziegler ceiling of the Palazzo Farnese is the perfect example of the Baroque period,with its dramatically curving, There are two basic challenges which are ever- Michelangelo-inspired Þgures, and expertly crafted present to the artist. The Þrst is to transform a blank three-dimensional illusions. Neo-Platonic ideals seem empty ground into an illusionistic representation of to resonate from within the frescos throughout the reality by incorporating light and space. The second vault. challenge is to maintain a unique signature style while From the Bolognese academy, the Þrst combining former artistic discoveries with the artistÕs signiÞcant academy of its kind in the history of own imagination and ingenuity. western art, arose some of the earliest of Baroque Beginning around the turn of the 17th century, masters: the Carracci.1 The premise of this academy the world of art began to change dramatically. was that the basis of any academic philosophy of art Weary of the once innovative ideals of the Early could be taught. The materials of instruction must Renaissance, artists had already reached the pinnacle be the traditions, the antique and the Renaissance, in of their experimental ideas in the High Renaissance. addition to the study of anatomy and drawing from Mannerism, with its stretched proportions and life.2 The academy taught a style which combined neglect of the laws of space, was discarded by Venetian color with Florentine attention to drawing forward-thinking artists with the exception of and design.
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Saint Peter and the Vatican: the Legacy of the Popes
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