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Michelangelo's David by Michelangelo Buonarroti,Antonio Paolucci Pdf
Michelangelos classic David is one of the worlds most recogniseable sculptures. In this book this timeless work is presented in an intriguing new light with breathtakingly original photographs and an insightful text which revisits the biblical story to rediscover Davids personality, while reconstructing the milestones that marked Michelangelos creation of this magnificent work.
About the author. A. Victor Coonin is James F. Ruffin Chair of Art at Rhodes College. He has received fellowships and grants from the Mellon, Kress, and Fullbright foundations and has served on committees for the Fullbright, National Endowment for the Humanities, and College Art Association. Author of numerous articles and editor of 2 books, this is his first monograph. -- Publisher's website.
David by the Hand of Michelangelo by Frederick Hartt Pdf
In March, 1987, art historian Frederick Hartt announced the discovery of a small stucco torso which he believed to be Michelangelo's model for his famous "David." Hartt, the eminent Italian Renaissance scholar, recounts the commissioning of the David, Vasari's description of the model and Michelangelo's methods, and the inventorying of the model in the Medici apartments in the Palazzo Vecchio from the early sixteenth century until 1690, when a terrible fire swept the building. He reconstructs the probable chain of events the occurred after the fire, when the model, severely damaged, fell into the rubble and was lost for the next two centuries. This masterpiece of detection and deduction reads like a thriller.
As a colossal statue takes shape in Renaissance Florence, the lives of a master sculptor and a struggling painter become stunningly intertwined. Florence, 1500. Fresco painter Jacopo Torni longs to make his mark in the world. But while his peers enjoy prestigious commissions, his meager painting jobs are all earmarked to pay down gambling debts. When Jacopo hears of a competition to create Florence's greatest sculpture, he pins all his hopes on a collaboration with his boyhood companion, Michelangelo Buonarroti. But will the frustrated artist ever emerge from the shadow of his singularly gifted friend? From the author of THE PAINTER'S APPRENTICE and THE GONDOLA MAKER comes a gorgeously crafted, immersive tale of Renaissance Italy. Based on a true story.
This book takes a new look at the interpretations of, and the historical information surrounding, Michelangelo's David. New documentary materials discovered by Rolf Bagemihl add to the early history of the stone block that became the David and provide an identity for the painted terracotta colossus that stood on the cathedral buttresses for which Michelangelo's statue was to be a companion. The David, with its placement at the Palazzo della Signoria, was deeply implicated in the civic history of Florence, where public nakedness played a ritual role in the military and in the political lives of its people. This book, then, places the David not only within the artistic history of Florence and its monuments but also within the popular culture of the period as well.
"From 1501 to 1505, Leonardo da Vinci and Michelangelo Buonarroti both lived and worked in Florence. Leonardo was a charming, handsome fifty year-old at the peak of his career. Michelangelo was a temperamental sculptor in his mid-twenties, desperate to make a name for himself. The two despise each other."--Front jacket flap.
Around the David by Franca Falletti,Magnolia Scudieri Pdf
Housed in the Tribune of the Accademia Gallery in Florence is one of the world¿s most famous and instantly recognizable works of art Michelangelo¿s David. However, the David is not the only work of art to be displayed in the Tribune, it is also home to a series of colossal paintings (some nearly 15 square metres) by contemporaries of Michelangelo including Pontomo, Alessandro Allori, and Francesco Granachi. Not only are these paintings spectacular in their own right, but they also provide an invaluable insight into the artistic and cultural context in which Michelangelo was able to sculpt David. This lavishly illustrated volume not only takes reader on a fascinating tour of the paintings in the Tribune, but also tells the story of the groundbreaking project undertaken in 2002/2003 to restore them to their former glory.
Michelangelo saw something—someone—special in the stone. No one wanted the “giant.” The hulking block of marble lay in the work yard, rained on, hacked at, and abandoned—until a young Michelangelo saw his David in it. Night and day, Michelangelo worked in secret, lovingly coaxing statue out of the stone. Its majesty endures even today. This is the story of how a neglected, discarded stone became a masterpiece for all time. It is also a story of how humans see themselves reflected in art. Back matter includes further information about David and a selected bibliography
Carmen C. Bambach,Claire Barry,Francesco Caglioti,Caroline Elam,Marcella Marongiu,Mauro Mussolin
Author : Carmen C. Bambach,Claire Barry,Francesco Caglioti,Caroline Elam,Marcella Marongiu,Mauro Mussolin Publisher : Metropolitan Museum of Art Page : 395 pages File Size : 43,8 Mb Release : 2017-11-05 Category : Art ISBN : 9781588396372
Michelangelo by Carmen C. Bambach,Claire Barry,Francesco Caglioti,Caroline Elam,Marcella Marongiu,Mauro Mussolin Pdf
Consummate painter, draftsman, sculptor, and architect, Michelangelo Buonarroti (1475–1564) was celebrated for his disegno, a term that embraces both drawing and conceptual design, which was considered in the Renaissance to be the foundation of all artistic disciplines. To his contemporary Giorgio Vasari, Michelangelo was “the divine draftsman and designer” whose work embodied the unity of the arts. Beautifully illustrated with more than 350 drawings, paintings, sculptures, and architectural views, this book establishes the centrality of disegno to Michelangelo’s work. Carmen C. Bambach presents a comprehensive and engaging narrative of the artist’s long career in Florence and Rome, beginning with his training under the painter Domenico Ghirlandaio and the sculptor Bertoldo and ending with his seventeen-year appointment as chief architect of Saint Peter’s Basilica at the Vatican. The chapters relate Michelangelo’s compositional drawings, sketches, life studies, and full-scale cartoons to his major commissions—such as the ceiling frescoes and the Last Judgment in the Sistine Chapel, the church of San Lorenzo and its New Sacristy (Medici Chapel) in Florence, and Saint Peter’s—offering fresh insights into his creative process. Also explored are Michelangelo’s influential role as a master and teacher of disegno, his literary and spiritual interests, and the virtuoso drawings he made as gifts for intimate friends, such as the nobleman Tommaso de’ Cavalieri and Vittoria Colonna, the marchesa of Pescara. Complementing Bambach’s text are thematic essays by leading authorities on the art of Michelangelo. Meticulously researched, compellingly argued, and richly illustrated, this book is a major contribution to our understanding of this timeless artist.
The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.