- EAN13
- 9781783101863
- Éditeur
- Parkstone International
- Date de publication
- 28/12/2023
- Collection
- Best Of
- Langue
- anglais
- Fiches UNIMARC
- S'identifier
Livre numérique
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Aide EAN13 : 9781783100149
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8.95
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect,
painter and poet, he made the apotheosis of muscular movement, which to him
was the physical manifestation of passion. He moulded his draughtsmanship,
bent it, twisted it, and stretched it to the extreme limits of possibility.
There are not any landscapes in Michelangelo's painting. All the emotions, all
the passions, all the thoughts of humanity were personified in his eyes in the
naked bodies of men and women. He rarely conceived his human forms in
attitudes of immobility or repose. Michelangelo became a painter so that he
could express in a more malleable material what his titanesque soul felt, what
his sculptor's imagination saw, but what sculpture refused him. Thus this
admirable sculptor became the creator, at the Vatican, of the most lyrical and
epic decoration ever seen: the Sistine Chapel. The profusion of his invention
is spread over this vast area of over 900 square metres. There are 343
principal figures of prodigious variety of expression, many of colossal size,
and in addition a great number of subsidiary ones introduced for decorative
effect. The creator of this vast scheme was only thirty-four when he began his
work. Michelangelo compels us to enlarge our conception of what is beautiful.
To the Greeks it was physical perfection; but Michelangelo cared little for
physical beauty, except in a few instances, such as his painting of Adam on
the Sistine ceiling, and his sculptures of the Pietà. Though a master of
anatomy and of the laws of composition, he dared to disregard both if it were
necessary to express his concept: to exaggerate the muscles of his figures,
and even put them in positions the human body could not naturally assume. In
his later painting, The Last Judgment on the end wall of the Sistine, he
poured out his soul like a torrent. Michelangelo was the first to make the
human form express a variety of emotions. In his hands emotion became an
instrument upon which he played, extracting themes and harmonies of infinite
variety. His figures carry our imagination far beyond the personal meaning of
the names attached to them.
painter and poet, he made the apotheosis of muscular movement, which to him
was the physical manifestation of passion. He moulded his draughtsmanship,
bent it, twisted it, and stretched it to the extreme limits of possibility.
There are not any landscapes in Michelangelo's painting. All the emotions, all
the passions, all the thoughts of humanity were personified in his eyes in the
naked bodies of men and women. He rarely conceived his human forms in
attitudes of immobility or repose. Michelangelo became a painter so that he
could express in a more malleable material what his titanesque soul felt, what
his sculptor's imagination saw, but what sculpture refused him. Thus this
admirable sculptor became the creator, at the Vatican, of the most lyrical and
epic decoration ever seen: the Sistine Chapel. The profusion of his invention
is spread over this vast area of over 900 square metres. There are 343
principal figures of prodigious variety of expression, many of colossal size,
and in addition a great number of subsidiary ones introduced for decorative
effect. The creator of this vast scheme was only thirty-four when he began his
work. Michelangelo compels us to enlarge our conception of what is beautiful.
To the Greeks it was physical perfection; but Michelangelo cared little for
physical beauty, except in a few instances, such as his painting of Adam on
the Sistine ceiling, and his sculptures of the Pietà. Though a master of
anatomy and of the laws of composition, he dared to disregard both if it were
necessary to express his concept: to exaggerate the muscles of his figures,
and even put them in positions the human body could not naturally assume. In
his later painting, The Last Judgment on the end wall of the Sistine, he
poured out his soul like a torrent. Michelangelo was the first to make the
human form express a variety of emotions. In his hands emotion became an
instrument upon which he played, extracting themes and harmonies of infinite
variety. His figures carry our imagination far beyond the personal meaning of
the names attached to them.
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