This essay Michelangelo has a total of 1624 words and 7 pages.
Michelangelo was pessimistic in his poetry and an optimist in his artwork. Michelangelo’s artwork consisted of paintings and sculptures that showed humanity in it’s natural state. Michelangelo’s poetry was pessimistic in his response to Strazzi even though he was complementing him. Michelangelo’s sculpture brought out his optimism. Michelangelo was optimistic in completing The Tomb of Pope Julius II and persevered through it’s many revisions trying to complete his vision. Sculpture was Michelangelo’s main goal and the love of his life. Since his art portrayed both optimism and pessimism, Michelangelo was in touch with his positive and negative sides, showing that he had a great and stable personality.
Michelangelo’s artwork consisted of paintings and sculptures that showed humanity in it’s natural state. Michelangelo Buonarroti was called to Rome in 1505 by Pope Julius II to create for him a monumental tomb. We have no clear sense of what the tomb was to look like, since over the years it went through at least five conceptual revisions. The tomb was to have three levels; the bottom level was to have sculpted figures representing Victory and bond slaves. The second level was to have statues of Moses and Saint Paul as well as symbolic figures of the active and contemplative life- representative of the human striving for, and reception of, knowledge. The third level, it is assumed, was to have an effigy of the deceased pope. The tomb of Pope Julius II was never finished. What was finished of the tomb represents a twenty-year span of frustrating delays and revised schemes. Michelangelo had hardly begun work on the pope’s tomb when Julius commanded him to fresco the ceiling of the Sistine Chapel to complete the work done in the previous century under Sixtus IV. The overall organization consists of four large triangles at the corner; a series of eight triangular spaces on the outer border; an intermediate series of figures; and nine central panels, all bound together with architectural motifs and nude male figures. The corner triangles depict heroic action in the Old Testament, while the other eight triangles depict the biblical ancestors of Jesus Christ. Michelangelo conceived and executed this huge work as a single unit. It’s overall meaning is a problem. The issue has engaged historians of art for generations without satisfactory resolution. The paintings that were done by Michelangelo had been painted with the brightest colors that just bloomed the whole ceiling as one entered to look. The ceiling had been completed just a little after the Pope had died. The Sistine Chapel is the best fresco ever done.
Michelangelo embodied many characteristic qualities of the Renaissance. An individualistic, highly competitive genius (sometimes to the point of eccentricity). Michelangelo was not afraid to show humanity in it’s natural state - nakedness; even in front of the Pope and the other religious leaders. Michelangelo portrayed life as it is, even with it’s troubles. Michelangelo wanted to express his own artistic ideas. The most puzzling thing about Michelangelo’s ceiling design is the great number of seemingly irrelevant nude figures that he included in his gigantic fresco. Four youths frame most of the Genesis scenes. We know from historical records that various church officials objected to the many nudes, but Pope Julius gave Michelangelo artistic freedom, and eventually ruled the chapel off limits to anyone save himself, until the painting was completed. The many nude figures are referred to as Ignudi. They are naked humans, perhaps representing the naked truth. More likely, I think they represent Michelangelo’s concept of the human potential for perfection. Michelangelo himself said, "Whoever strives for perfection is striving for something divine." In painting nude humans, he is suggesting the unfinished human; each of us is born nude with a mind and a body, in Neoplatonic thought, with the power to be our own shapers. Michelangelo has a very great personality for his time. In Rome, in 1536, Michelangelo was at work on the Last Judgment for the altar wall of the Sistine Chapel, which he finished in 1541. The largest fresco of the Renaissance, it depicts Judgment Day. Christ, with a clap of thunder, puts into motion the inevitable separation, with the saved ascending on the left side of the painting and the damned descending on the right into a Dantesque hell. As
Topics Related to Michelangelo
Visual arts, Roman Catholic art, Sistine Chapel, Christian art, Painted ceilings, Renaissance art, Michelangelo, Tomb of Pope Julius II, Sistine Chapel ceiling, The Last Judgment, High Renaissance, Bacchus
Essays Related to Michelangelo
The civil strife and chaos that had torn Russia liThe civil strife and chaos that had torn Russia limb from limb in the early 20th Century, although brutally devastating, did not hail the end of the stability and power that had characterized the massive country for so much of history. The continuing strength of what was now the Soviet Union lay in the newly formed support structure provided by Socialist Realism, a force that directed the awareness of, and the arts produced by, the Soviet people. The ideals of Socialist Realism deified Lenin and
Nicholas A. TrifilettiNicholas A. Trifiletti Ideas in the VisualArts I9 1:00 MWF The Songye Masquerade INTRODUCTION When I again entered the Nelson-Atkins Art Museum, I immediately asked the security guards where the African collection was located. I passed through the Chinese and Japanese galleries but nothing drew my attention more than the African mystique. As I entered the room a distinct smell came across my noise, one that suggested undiscovered grounds. This is an art criticism paper, in which I will describe
Pop Art, visual arts movement of the 1950s and 196Pop Art, visualarts movement of the 1950s and 1960s, principally in the United States and Britain. The images of pop art (shortened from popular art) were taken from mass culture. Some artists duplicated beer bottles, soup, cans, comic strips, road signs and similar objects in paintings, collages, and sculptures. Others incorporated the objects themselves into their paintings or sculptures, sometimes in startlingly modified from. Materials of modern technology, such as plastic, urethane foam an
A Brief on Paul CézanneA Brief on Paul Cézanne Paul Cézanne was born in Aix-en-Provence, a small town south of France. As a young boy, Cézanne’s passions lay in his poetry and his friends, including Emile Zola (Preble 402). Cézanne is included in the time of the Post-Impressionists. Cézanne wanted to make Impressionism into something solid and enduring like the art of museums (Preble 401). Cézanne did not have a typical, (as I define as friendly), relationship with his father. Cézanne had some problems with his fath
Education is inevitable. It is all around us becauEducation is inevitable. It is all around us because we can learn from virtually anything. When you are cooking, dancing, talking or any other activity you have actually had to learn several things to be able to do them. In the educational perspective, I am a pragmatist and I tend to follow after Deweys footsteps. The concept of Pragmatism is one that developed in the 20th century. My philosophy is based on the idea that learning should involve real-life situations. Learning becomes more concre
The Harlem RenaissanceThe Harlem Renaissance Or the New Negro Movement The dawn of the 1920’s ushered in an African American artistic and cultural movement, the likes of which have never and will likely never be seen again. Beginning as a series of literary discussions in Greenwich Village and Harlem, the New Negro Movement (later dubbed the Harlem Renaissance by Alain Locke) came to exalt the unique culture of African Americans and redefine African American expression. The movement spread throughout all areas of t
Throughout history, the arts and literature have bThroughout history, the arts and literature have been a form of rationalization of the minds and thoughts of an artist or writer. The progression or regression of knowledge over a period of time can be chronicled or mapped with the use of the literature and arts of these artists. More specifically, the major shift in thinking from 18th-century Neoclassicism to 19th-century Romanticism can be seen in the works of Alexander Pope and William Wordsworth. A deliberation on the works of these two auth