Michelangelo

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THE WORLD OF ART Michelangelo Linda Murray 161 plates, 20 in colour •' Linda Murray's new study provides a lucid and authoritative introduction to Michelangelo's Ssjpfe' and work, from the artist's early years of triumph in Romé and Florence, through his •:§>middle period under the patronage of Popes Julius II, Leo X, and Clement VII, to his • | increasingly spiritual later Román phase. Emphasis is given to the turbulent political and ÍMeligious events which profoundly influenced the course of Michelangelo's career, to the •' ? sources. evolution, and -recurring themes of Michelangelo's art, and to the complex v symbolism and iconography - classical, Hebrew, and Christian - of such masterpieces as the St Peter's Piéta, the Dávid, the Sistine Ceiling, the Medici Chapel, the LastJudgment, and the " Cappella Paolina frescoes. A separate, detailed, chapter is devoted to the architectural works, perhaps thesupremeexpression of Michelangelo's maturestyle, and thedrawingsand poems are alsó... Tovább

Fülszöveg

THE WORLD OF ART Michelangelo Linda Murray 161 plates, 20 in colour •' Linda Murray's new study provides a lucid and authoritative introduction to Michelangelo's Ssjpfe' and work, from the artist's early years of triumph in Romé and Florence, through his •:§>middle period under the patronage of Popes Julius II, Leo X, and Clement VII, to his • | increasingly spiritual later Román phase. Emphasis is given to the turbulent political and ÍMeligious events which profoundly influenced the course of Michelangelo's career, to the •' ? sources. evolution, and -recurring themes of Michelangelo's art, and to the complex v symbolism and iconography - classical, Hebrew, and Christian - of such masterpieces as the St Peter's Piéta, the Dávid, the Sistine Ceiling, the Medici Chapel, the LastJudgment, and the " Cappella Paolina frescoes. A separate, detailed, chapter is devoted to the architectural works, perhaps thesupremeexpression of Michelangelo's maturestyle, and thedrawingsand poems are alsó discussed. The book is fully illustrated throughout and includes a guide to further reading. About the author After studying to be a painter at the Académie Royale des Beaux-Arts in Brussels, Linda Murray obtained her Academic Diploma in the History of Art at the Courtauld Institute of Art, London. She taught for many years in the Extramurai Department of the University of London and is the author of numerous books, including The Art ofthe Renaissance (in collaboration with her husband Peter Murray) and The High Renaissance and Mannerism, both in the World of Art. From the text "In what way, then, can Michelangelo be said to have changed everything? Firstly, by the force of personality. After Michelangelo, genius was more readily recognized, appreciated, sought after. Once he had been recognized as an exceptional talent, the artist was allowed more say in the design and execution of his work, was less circumscribed by the Hmitations of contemporary taste, was freer to experiment andto innovate____Secondly, by the creation ofa new vocabulary ofform, though not one which his followers could always assimilate, and by the dovetailing of supremetechnicalachievementtothe grandest imaginativepower. Thirdly, by his universality. He was equally creative, imaginative, and competent in all the three arts. Fourthly, in a negatíve sense. After him there were no fresh fields to conquer, no pastures new to explore, until in a later generation artists abandoned the notion of competition and emulation, and turnéd to the expression of quite different aims. . . . Lastly, by his example. Michelangelo became as no other before or since the archetype of the artist: dedicated, solitary, single-minded, tormented, harassed, unsatisfied, and undefeated." Vissza