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Essay for the michelangelo
Essay for the michelangelo
Michelangelo effect on the Renaissance
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The film The Agony and the Ecstasy, 1965, is the epic portrayal of Michelangelo and Pope Julius II based on the historical novel of the same name, by Irving Stone, published in 1961. Their working relationship is documented as the struggle between two powerful and egocentric men. While one is the leader of the Christian world, the other means to change the world through his art. The paradox is that the Pope jealously believes Michelangelo to be the man that can capture the nature of God more successfully and translate that to his followers. The film follows their warring relationship and Michelangelo’s progress on the ceiling of the Sistine Chapel, as well as notes the inspiration that Michelangelo gets from God for his work on this ceiling.
In this film, Michelangelo is first commissioned by the Pope to execute a design for the 12 apostles on the ceiling of the Sistine Chapel. Michelangelo accepts this commission begrudgingly; he has no choice but to accept. Michelangelo begins to paint the apostles on the ceiling, yet he is unsatisfied with his work. One night, inspired by the metaphor ‘if the wine is sour, spill it out,’ he trashes the work he has completed so far and runs into the mountains, away from the Pope and his commission. While in the marble quarries of Italy, he sees an image of God and Adam in the sky; Michelangelo believes this to be a sign from God, which he will then translate into the now famous Birth of Adam scene on the ceiling of the Sistine Chapel. Michelangelo returns to Rome with his plan for the ceiling and begins his masterpiece.
While the film allows the viewer to envision Michelangelo’s artistic processes- like gessoing the walls, creating cartoons for the figures, and even sculpting figures...
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...ation in the marble quarries is contrived and Hollywood’s way of explaining Michelangelo’s conception of his artistic goals, shrugging of what might be uncomfortable in the 1960s with a man’s infatuation with the male form. A contemporary film would be required to delve more correctly into Michelangelo’s psyche rather then a 1960’s Hollywood sentimentality.
Works Cited
Dixon, John W. The Christ of Michelangelo: An Essay on Carnal Spirituality. Atlanta, Ga.: Scholars Press, 1994. 60.
Oremland, Jerome D. Michelangelo's Sistine Ceiling :A Psychoanalytic Study of Creativity. Vol. monograph 2. Madison, Conn.: International Universities Press, 1989. 3.
Von Einem, Herbert. Michelangelo; Bildhauer, Maler, Baumeister. Berlin: Gebr. Mann, 1973. 50.
Dixon, 53.
Penck, Stefanie. Michelangelo. Munich ;New York: Prestel, 2005. 42.
Dixon, 39.
Oremland, 2.
Although they were rivals, they dabbled in two different types of art mostly. Leonardo was a profound painter with interest in science, whereas Michelangelo found his way around sculptures. He considered sculptures to be the most important aspect in visual arts. Examining Michelangelo’s works throughout time, a resemblance to contemporary society is shown. Major products of Michelangelo include the statue of David and the fresco ceiling of the Sistine Chapel (History, 2010). The combination of imagination and the technical skills produced renaissance sculptures that contain all aspects of accuracy and harmony. The sculpture of David was considered the greatest sculptor to be produced during the renaissance era. When considered the works from the Sistine Chapel ceilings, the psychological insight, intensity, and the physically visual realism are all combined to produce an excellent painting which showed off his ability in paintings as
The Torment of Saint Anthony (c. 1487-¬88), an oil and tempera on a panel, is believed to be the first painting by Michelangelo inspired by an engraving by Martin Schongauer (c. 1470-75) when Michelangelo was 12 or 13 years old (Vogel. 2009). It is one of the four surviving panel paintings by Michelangelo, who, according to one biographer, had spoken with disdain of oil painting in later life.
Michelangelo: The Sistine Chapel Ceiling, page 73). What this sentence is basically saying is that the whole painting of the Sistine chapel was meant to embody the ideas of the religious mentality that was embedded into the minds of the people during the renaissance period. When Pope Julius II commissioned Michelangelo to paint the celling of the Sistine chapel, he wanted it to solely represent the ideals and teachings of the church, however Michelangelo portrayed some of his own thoughts into the art. Examples of this can be found all over the painting the last testament and in the book titled Michelangelo A Life in Six Masterpieces by Miles J. Unger, upon examination of the painting it is possible to see on the bottom right hand corner the Pope himself with a snake wrapped around him and being dragged to hell. Historians believed that Michelangelo painted the Pope in this way because he did not agree with the way Pope Julius II was running the church, Michelangelo and the Pope often disagreed on many different occasions whether it be on religion or just the way he talked to Michelangelo. Throughout the last testament Michelangelo actually painted homosexual men all around the painting, and he did not paint them burning in hell, instead he painted them in heaven along with Jesus
The two works I have chosen to explore for the final project are a stone sculpture by Gislebertus, and a Fresco by Giotto, both titled Last Judgment. Gislebertus’ stone sculpture is from the Romanesque era, made between 1120-1135 and is located at the Church of St. Lazare’s Tympanum in Autun, France. Giotto’s Reformation Art is a Fresco from the Late Gothic or Proto-Renaissance/Renaissance era, dated 1306 and is located at the Scrovegni Arena Chapel in Padua, Italy. My focus will be on discovering each artwork’s Christian representation and function during these periods. Although the artists use strikingly different methods to deliver their message, each convey the same theme and significant influence of their time; a persons’ soul was ultimately subject to divine judgment. Through a beautiful fresco painting and an artistic carving of stone, both works of art tell their own narrative that encourages us to examine
In Michelangelo and the Pope's Ceiling Ross King gives a penetrating look into the life of Michelangelo Buonarroti during the four years he spends painting the ceiling of the Sistine Chapel. At a scale of nearly five thousand and eight hundred square feet and almost seventy feet above the ground, this would be an incredible task for the artist. He faces many challenges, mentally and physically, during the process, but still finishes the ceiling in an incredibly short amount of time considering the size of his work. Michelangelo is renowned for his moody temper and reclusive lifestyle. Most people find him to be an extremely difficult person, due partially to his lack of concern for anyone but himself, and to his undaunted stubborn nature. The one man with whom he will despise and contend with all his life was Pope Julius II; he is also the man who commissions him to paint the ceiling. Ross King's purpose in writing this book is to detail Michelangelo's magnificent struggle with personal, political, and artistic difficulties during the painting of the Sistine ceiling. He also gives an engaging portrait of society and politics during the early sixteenth century.
Michelangelo Buonarroti was one of the top three Italian artists. His work are examples of how great the art was in the High Renaissance Era. Michelangelo’s chalk drawing, Study of a Man, was his analysis of the way he saw the body and the way it was shaped and saw the different positions. By using critical thinking as he created his art, he had the ability to study the way a man looks. He was able to process how the way the body moves and sits.
The novel, the Agony and Ecstasy written by Irving Stone portrays Michelangelo's big ego and determination, taking the reader through his childhood to the moment he takes his last breath. Similar to the movie Ender's game, it shows Ender's determination to win the war with himself and the Formics. The main characters in the movie and book both endure thick and thin to face the desire to overcome obstacles. The most outstanding feature of the main characters from the movie and book, is their determination. In the novel, the main character Michelangelo is taken apart by his father's hateful words about art,” Art is like washing an ass’s head with lye; you lose both the effort and the lye” (p. 19).
In April 1508 Pope Julius II hired Michelangelo to paint the ceiling of the Sistine Chapel (McNeese 87). The Sistine Chapel was where major papal ceremonies took place (Summers 11). Although Julius II just wanted Michelangelo to paint the ceiling of the chapel Michelangelo had bigger ideas. By 1513, Michelangelo had around 340 figures on the ceiling of the chapel.
Art, by definition, is “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings”. Throughout history, one way that art has been used is to reflect a multitude of ideas and beliefs. Christian beliefs and ideas have been portrayed in artwork since the beginning of Christianity, although, it was not always acceptable to do so. The idea of the final judgement is a Christian idea that has been displayed in art repeatedly in a variety of ways. Michelangelo’s fresco the Last Judgment (1536-1541) is a piece that visualizes this idea. Since the time it was finished, this significant piece found in the Sistine Chapel has been continuously critiqued and analyzed. Many Christians struggle to interpret the event of a final judgment after reading it through Scripture. In analyzing Michelangelo’s piece, it is similar difficult to determine what he exactly meant to portray and what the various part of his masterpiece represent exactly. Many have examined this piece and made different regarding what exactly the various figures and objects are supposed to represent. The diverse interpretations of this work further shows the idea that when Christian ideas are reflected through artwork, it is hard to ascertain exactly what an artist intended to demonstrate. In addition, the controversies surrounding this piece represent the idea that when Christian ideas are revealed through art, there is potential for disagreement regarding what should and should not be included in Christian art. Michelangelo’s Last Judgment is just an example of what results when Christianity is brought into art.
Michelangelo was born in a time in which the church had a great influence on most things that people did in their everyday life. He grew up in a wealthy family and was exposed to people of high position. The paintings and sculptures that Michelangelo created were strongly related to the Bible, and showed his respect and knowledge of the religion and culture he was brought up in. Starting with the Sistine Chapel ceiling, it has paintings that start with the creation of the world all the way to the flood and drunkenness of Noah. Michelangelo took four years to paint the ceiling and broke down different aspects of the earlier parts of the Bible throughout the ceiling. The most prominent paintings that are on the ceiling would have to be where God’s hand reaches out to Adam’s hand. This shows that Michelangelo views man and God as having a relationship where they know each other. Man can reach out to God, while God reaches down to man. With that being said, I believe this shows that the way in which man encounters God in this painting was a form of the ontological type. In ...
...ver surpass its extraordinary success. The vast collection of the antique nude arose from this age and enriched the world today with its remarkable work. It seems that as Michelangelo explains God sparked divine gifts into their intellect, gifts designed to be shared and enjoyed with the whole world.
Much of the art created during the Renaissance was geared toward religion, and with Michelangelo this was no exception. By th...
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
They exemplify “the good...bad...famous and...obscure; the decision being taken by God must be the most momentous of all decisions ever taken; the painter must convincingly imagine Hell for those who receive thumbs-down on God’s final judgement; at the same time he must convincingly imagine Heaven for those who are saved” (3). This depicts that the painter perceives the afterlife in this manner, and shows Heaven and Hell through the people and colors, lighter and closer to jesus for Heaven, and darker and closer to Hell for the individuals with the “thumbs down” judgement. This evaluation ties in within the historical context of the painting. The Last Judgement “covers the wall behind the altar in the Sistine Chapel. The work depicts the second coming of Christ and, although the artist is clearly inspired by the Bible, it is his own imaginative vision that prevails in this painting” (4). This shows that even though Michelangelo was ordered by the Pope and inspired by the Bible to paint this artwork, this painting is based off of Renaissance ideals, due to his “imaginative vision” that prevails in the
...the Jewish themes and the heliocentric concept work together to show how Michelangelo felt. When looking at The Last Judgment one can feel a sense hope amidst the fear that fresco is intended to evoke. Christ centered in the middle shows his availability, no longer is he separated by hierarchies. Christ is with all of us. The Last Judgment artistically sums up the religious discourse that many church leaders, like Marin Luther, were trying to spread to the masses. Salvation is available to all, even Jews. No longer could the Church hold salvation captive, and this message was made possible because of Michelangelo’s religious and classical education. If he had not been surrounded by different schools of thought and pushed to think differently it safe to say that the Sistine Chapel that we have today may not have ever existed.