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A Portrait of the Artist As an Old Man: Michelangelo's

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A Portrait of the Artist As an Old Man: Michelangelo's A PORTRAIT OF THE ARTIST AS AN OLD MAN: MICHELANGELO’S RONDANINI PIETÀ IN LATE-LIFE DEVELOPMENT By Christopher Evan Jones Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Religion May, 2009 Nashville, Tennessee Approved: Professor Volney P. Gay Professor Leonard Folgarait Professor Robert L. Mode Professor Robin M. Jensen Professor Richard J. McGregor Copyright © 2009 by Christopher Evan Jones All Rights Reserved To my beloved wife Elena, without whose steady light, this work would have been an unusual shadow iii ACKNOWLEDGEMENTS This dissertation would not have been possible without the Graduate Department of Religion at Vanderbilt University’s generous, long-term support. At the university, I remain most deeply indebted to Dr. Volney P. Gay, Chairman of the Department of Religious Studies, Professor of Anthropology, and Professor of Psychiatry, whose paternal depth and wit is a constant guide in my research, in my clinical practice, and also more than any other introject, in my teaching. Also at the university, I remain indebted to Dr. Leonard Folgarait, whose avuncular grace inspires me still; to Dr. Robert Mode, for his cheerfully cultivated expertise; Dr. Robin Jensen, for legitimizing both the seriousness and the play of pictures; and to Dr. Richard McGregor, for his dedicated abundance of time and attention. I offer too, a special note of thanks to the Dr. James E. Dittes, professor emeritus at Yale whose wordlessness moves me most and for whom I now have no sufficient words, and his lovely wife Anne Smith, who somehow dances in the stillness. This has been a truly international effort, so I am grateful to the University of Heidelberg, Germany, and in particular Kay Henn, for taking a chance on a young scholar, which allowed me to cherish that ancient place and go more deeply into the research. For his time and travel companionship, I would also like to thank Kenneth Brown, not the least of which for his assistance with seven-thousand seven hundred and seventy-seven photocopies. Similarly, I would like to thank Matthew Fentem as an excellent travel companion, not only as a friend and colleague in Heidelberg but also in scholarship. I would like to thank the Castello Sforzesco in Milan, Italy, for their care and graciousness with the Rondanini Pietà. I appreciate also Alexander and Evgeny of Pirit Systems in Kiev, Ukraine, for their good-natured expertise with iv document scanning. More recently, I thank the Isha Yoga Center, India, and in particular Sadhguru Vasudev, for offering me a stimulating and supportive refuge, in an extremely ancient place, in which to complete the writing. Also there, I thank Swami Abhipadha, for his gentle perspective, Swami Devisatra for his good humor, Swami Nisarga for smiling through revision, Bharatimaa for her loving logic, Lawrence Bloom for laughing gladly, and Carsten Jaeger for catching fire with such compassion. More recently, I would like to thank the elder Mr. and Mrs. Gaponenko and the younger Mr. and Mrs. Gaponenko of Vinnitsa, Mr. and Mrs. Ponomaryov of Kiev, Dr. Alan Pichanick and Mrs. Jessica Covitz of Annapolis, Mr. Anthony Jacobs then of Seattle, Mr. and Mrs. Gautam of Kathmandu, Mr. and Mrs. Lama of the Bara District, and Dr. Douglas Herr of Nashville for offering us so many forms of hospitality and encouragement. There are also two teachers who first inspired me with this project by introducing me to the Rondanini Pietà: Thomas Adams of St. Mark’s School of Texas in Dallas and Dr. Charles Bell of St. John’s College in Santa Fe. A book could be written about either of these two grand characters individually, but I offer at least my simple and humble thanks for their inestimable ability to breath life into the intellect. On a further personal note, it is said that Michelangelo lived with his Rondanini Pietà for the final decade of his life, and it has been roughly a decade that I have been so taken by this artwork. Michelangelo left his work apparently unfinished, covered with chisel marks; now, with this dissertation happily complete, it is possible to look back, and even after so many years focusing on this one work, it remains mysterious and beautiful. To those who have inspired and encouraged this dissertation, including the great artist himself, I am grateful to have spent this decade living with this work. It has been quite a journey. v Above all, I am grateful to a Higher Power of my understanding, or lack thereof, whom I choose to call God. I thank my guru, my professors, my parents,1 and my wife, all of whom were constant companions, introjected or otherwise, as I wrote. I do not have words to thank them adequately here or, perhaps, anywhere, so I offer them the fewest words, hoping that anything they enjoy in this work is a hint of my appreciation. 1 Though my parents deserve thanks for too many things to enumerate here, I want at least to mention a few: My mother, who believed this dissertation was possible, offered her unwavering encouragement, grace, and support; and my father, who received his doctorate years ago, offered long hours of careful reading, suggestions, and insight. Also my sister, an artist herself, deserves thanks for putting the writing into perspective. In the years of working on this, I have learned to appreciate each of them all the more. vi TABLE OF CONTENTS Page DEDICATION...........................................................................................................................iii ACKNOWLEDGMENTS..........................................................................................................iv LIST OF FIGURES ....................................................................................................................x Chapter I. INTRODUCTION...........................................................................................................1 a. The structure of this dissertation ..........................................................................4 b. The fact-value-hypothesis model..........................................................................6 c. The methodological orientation of this work ........................................................6 II. FACTS: WHAT WE KNOW ........................................................................................13 a. Facts about Michelangelo’s individual context: biographical data ......................13 i. Early life ................................................................................................13 ii. Mid-life..................................................................................................22 iii. Late-life .................................................................................................33 iv. Final days...............................................................................................37 b. Facts about Michelangelo’s communal context ..................................................42 i. Political context......................................................................................43 ii. Religious context....................................................................................44 iii. Selected global context...........................................................................49 c. Facts about Michelangelo’s art historical context: iconology of the pietà theme ..............................................................................51 i. Textual history of the pietà.....................................................................53 1. Biblical sources of the pietà theme..............................................53 2. Apocryphal sources of the pietà theme........................................54 3. A practical devotional source of the pietà theme .........................55 ii. Visual history of the pietà.......................................................................56 1. Andachtsbild...............................................................................56 2. Michelangelo and the pietà theme...............................................57 3. Iconology of the Vatican Pietà:...................................................58 4. Iconology of the Rondanini Pietà................................................59 d. Facts about Michelangelo and the Rondanini Pietà ............................................59 i. Contemporaneous accounts ....................................................................61 ii. Centuries of silence ................................................................................63 iii. Resurfacing ............................................................................................65 iv. Recent news ...........................................................................................67 vii III. VALUES: WHAT WE BELIEVE ..................................................................................69 a. Theories on Michelangelo and the Rondanini Pietà: An introduction..................................................................................................69 b. Theories on the psychology of the elder Michelangelo.......................................70 i. General psychoanalytic underpinnings ...................................................70 1. Freud on the primary and secondary processes............................70 2. Arieti on the tertiary process .......................................................74 3. Freud on “mourning and melancholia”
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