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Michelangelo Alexey Dzhivelegov.
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Leonardo da Vinci Alexey Dzhivelegov
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Michelangelo Alexey Dzhivelegov
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Michelangelo
Table of contents: Librs.net Alexey Dzhivelegov Michelangelo At the sunset of the Medicean Signoria Childhood In the workshop of Ghirlandaio In the Medici gardens The first works Ideological growth The first masterpieces in Rome and Florence Michelangelo in Bologna Minor works in Florence and Rome (1495-1497) Bacchus.
Cupid.
Apollo Roman Pietà Michelangelo's family.
Return to Florence Marble David Further works in Florence by Michelangelo and Leonardo.
Madonna of the Doni Battle of Kashin.
Moving to Rome In the service of the terrible Pope Julius II and the project of his tombstone The end of the Battle of Cascina The Statue of Julius II in Bologna The work on the Sistine plafond The end of the painting How the plafond was written The description of the plafond The political situation of Italy Civil and humanistic motives of the plafond The art of the plafond The Tragedy of the tombstone The artist and the pope Under the yoke of the Medicean popes Leo X and his orders.
The facade of San Lorenzo Works in Florence by Adrian VI and the accession to the throne of Clement VII.
The Medici Chapel in San Lorenzo and Laurentiana Smuta in Italy.
The expulsion of the Medici and the Siege of Florence.
Michelangelo's political sentiments Michelangelo's role in defending Florence's work in Florence.
Moving to Rome, the Medici Chapel In the kingdom of the Catholic reaction of Paul III and the beginning of the Catholic reaction.
Work on the Last Judgment The art of Michelangelo in the Last Judgment Vittoria Colonna and Michelangelo The completion of work on the monument to Julius II Paolinskaya Chapel.
Friends and relatives of Michelangelo Michelangelo and the Medici.
Brutus Architectural works under Paul III Cathedral of St. Petra is the poetry of Michelangelo in Recent years.
Recent works.
Death Conclusion Librs.net
it was moved to the place, to the chapel of the old St. Peter's Cathedral, some Lombards who looked at it said that it was made by the Milanese sculptor Gobbo.
Michelangelo heard these conversations and at night, by the light of a lantern, he carved his name on the madonna's sling.
Now the group stands in the new cathedral, under the dome, built later by Michelangelo himself.
The artist depicted the Madonna sitting on a stone at the foot of the cross with the naked body of her son on her knees.
Madonna has a small, beautiful head and a powerful body.
With her right hand she supports the upper part of the body of Christ; the right leg, slightly raised, is set aside so that the stretched covers of the dress form a kind of bed on which the entire middle part of the body of Christ rests; his shins lie on the left leg of the madonna, and below the knees his legs hang down; one of them touches the ledges of the stone.
The left hand of the madonna is perplexedly stretched out sideways, palm up; the head of Christ is thrown back, and the hands lie lifeless on the folds of the mother's clothes.
The artistic task was to depict, without disturbing the aesthetic impression of the whole, the body of an adult man on a woman's lap.
Michelangelo solved it brilliantly.
The group is constructed as a three dimensional triangle, in which horizontal, inclined and vertical planes are combined in an unusually harmonious way.
The lines of the lifeless body of Christ surprisingly gently, naturally and convincingly follow the movements of the Madonna's body wrapped in folds of clothing.
No wonder this thing was called the first perfect group in the new art.
The viewer does not even notice what a huge number of difficulties the artist had to overcome in order to achieve such an impression.
The new compositional formulas shown by Leonardo da Vinci in painting could not but be known to Michelangelo, and he used them for the first time for a sculptural work.
The influence of Leonardo Michelangelo, he never recognized, but it was not easy for him to get rid of him at first, and for this he, who was painfully searching for his own, Michelangelo's, in art, so hated his great contemporary already in these years.
In Pietà, he borrowed not only the compositional drawing, but also the type of the madonna's head, which he also repeated in one of the sculptural works closest to Pietà in the Bruges Madonna.
This is not enough: the group as a sculptural work still gives out the inexperienced techniques of the painter, a long term master of sculptural bas relief.
The group can only be viewed from the front.
If you look at it from the side, you get the impression of almost unrelated fragments.
This is essentially a masked high relief.
Undoubtedly, the classical influence is also noticeable on Pietà.
The group is completely imbued with ancient ideas about beauty; the impression of the Apollo Belvedere is clearly reflected in the treatment of the figure of Christ.
Savonarola's reminiscences in their pure form could only bring to life such deliberately naturalistic things as numerous Pietà Giovanni della Robbia from painted terracotta, the purpose of which is to warm up penitent, hysterical moods.
Michelangelo created a work of art in the full sense of the word.
He did not seek naturalistic effects, although he did not deviate from the requirements of realism.
He tried to create an impression with strict lines, proportionality of parts, internal harmony.
The connection of the ancient ideal of beauty with the Christian idea embodied in Christ was not easy for the artist.
Michelangelo, of course, understood what moments of Christian dogmatics he sacrificed in order not to sacrifice the ancient aesthetic moments.
Condivi has saved for us a conversation with the teacher, in which he explains to him why he made the mother of a man in his thirties so young.
He told Condivi at length that chaste women generally remain young for a very long time, and the Mother of God's youth was still maintained by a special grace.
These unintelligible theological and physiological arguments delighted the simple minded Condivi, but in essence they represented a poor defense against the accusations that the artist sacrificed a Christian subject to the paganism of ancient Rome.
It would be more correct, but it is impossible, according to the conditions of that time, to say that it was the pagan spirit that raised this Christian plot to an artistic height that had never been reached before.
Jacopo Gallo's prediction, although it was stated in the broadcloth language of notarial acts and had nothing apocalyptic in it, came true exactly.
Rome was enriched with a realistic masterpiece that has no equal in all of Italy.
The Michelangelo family.
Return to Florence
As Michelangelo's fame grew and his financial situation improved, the relationship between him and his native family gradually began to change.
They were never particularly good.
The father, we know, was heavy on the hand.
The brothers who remained in the world (Lionardo became a monk) were one more dissolute than the other.
As soon as they realized that Michelangelo began to earn well, they immediately began to fit in with him as freeloaders and, apparently, adjust their father accordingly.
Buonarroto, the most dashing of the brothers, while Michelangelo was working in Rome, managed to visit there twice.
In 1497, he came as if to investigate; he had already begged for something, but for
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Our recommendations:
Michelangelo Buonarroti Helene Fisel
The Life of Michelangelo by Romain Rolland
The Shadow of Michelangelo by Paul Christopher
The poetry of Michelangelo translated by A M Efros Bonarroti Michelangelo
A descendant of Michelangelo Anatoly Levandovsky
Belezhnikt on Michelangelo by Paul Christopher
Michelangelo A. Makhov
The Demons of Michelangelo Giulia Bianchi
Secrets of Michelangelo: Finding Yourself in Work and Life by Chris Widener
Michelangelo Alexey Dzhivilegov
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