A Short Introduction to Michaelangelo (Illustrated)


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Michelangelo Buonarroti

This book serves as a nice recap of my art history class. It would be an easy and fun read for people who has a little bit but not too much background in art history. Not really for complete beginners. A few main points: 1. The craft involved in making an image or object, together with its function and iconography should be valued equally. The altarpiece tradition serves an important role in Renaissance religious life.

Renaissance art, whether sacred, secular, or somewhere i This book serves as a nice recap of my art history class. Renaissance art, whether sacred, secular, or somewhere in between, was full of stories. Artists modify and adapt reality for their own purposes, artistic or otherwise. The idea of "Renaissance men" 6.


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Women in Renaissance had roles as patrons, artists and subjects. Images of mythological figures such as Venus or Icarus, and Classical genres like the marble portrait bust or the bronze statuette, these objects were an important part of wealthy 15th- and 16th-century beholders. The sculpture placement in Piazza della Signoria reflects the frequent power shift in Renaissance Florence, especially between the Republican government and the Medici. Vasari is the first art historian; Michelangelo was the first artist whose biography was written when he was alive.

Sonnets Michael Angelo Buonarroti, First Edition

Dec 28, Brian rated it it was amazing. Geraldine Johnson's no-nonsense approach to Renaissance art contrasts the very different contexts in which Renaissance paintings, sculpture and crafted objects can be viewed. On the one hand she examines attitudes at the time: the very specific demands of the patrons who commissioned these works, and the uses to which the works were put, whether devotional, political, familial or domestic.

On the other hand she considers the reverence with which the same objects are regarded nowadays by gallery- Geraldine Johnson's no-nonsense approach to Renaissance art contrasts the very different contexts in which Renaissance paintings, sculpture and crafted objects can be viewed. On the other hand she considers the reverence with which the same objects are regarded nowadays by gallery-goers gazing through a post-Romantic lens in which the artist is seen as a creative genius in conflict with the world, giving expression to his troubled personality through his art The scope of the book is limited by the parameters of the series in which it belongs.

Nevertheless, Johnson does an excellent job, focusing on a series of individual artworks and outlining how they embody the economic, religious and political forces of the time. Clear, precise and informed. Mar 09, Kamal rated it really liked it. I have enjoyed several books from this series, but this one is my favorite. The author treats Renaissance art with respect, but doesn't elevate it as the greatest artistic achievements ever, as many commentaries do.

In fact, the author explicitly examines the idea of the artist-as-rockstar, which we take for granted today, but didn't really exist before the Renaissance. Instead, she tells a story of power and civic rivalry--the contexts that produced much of what we consider high renaissance art I have enjoyed several books from this series, but this one is my favorite.

Instead, she tells a story of power and civic rivalry--the contexts that produced much of what we consider high renaissance art. My only real critiques of this book is that it didn't spend that much time discussing the Northern Renaissance, and the book lack footnotes and other forms of marginalia that would have helped to substantiate its claims. Apr 15, Rebecca rated it really liked it Shelves: art , art-history-ba-1st-year , non-fiction , reviewed , italy. A good overview of the issues surrounding Renaissance art, illustrated with examples and case studies of artworks, artists, or even cities, rather than a summary of main artists, styles and centres of art etc.

I found this more useful for my purposes but it might not be right for other people. The only thing I found annoying were the patronizing conclusions to each chapter, really could have done without them!

Michelangelo’s David – lettestfootssaddne.ga

Nov 07, Daniel Wright rated it liked it Shelves: vsi , art , female-author , history , art-history , early-mod-history. After reading a number of books about art that attempt, in some misguided post-modern way, to deal with it in an unconventional fashion, it is always somewhat refreshing to come across one that guides the reader through the subject in a methodical and no-nonsense way.

This book does precisely that covering all the major themes and artists concisely but effectively.

Art with Mati and Dada – Michelangelo - Kids Animated Short Stories in English

Aug 09, Christos Bouras rated it liked it Shelves: art. Aug 10, Sam rated it really liked it Shelves: non-fiction.

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This is really a good book for learning about a subject I knew very little about. Apr 01, Erin rated it liked it.


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I had very little knowledge on the renaissance before reading this book. I definitely found it to be a good introduction. I think it would be too simplistic a read for anyone that has some knowledge on this subject, though. I found chapter 8 to be the most interesting chapter. Dec 30, Brick rated it really liked it. Jul 06, Gen marked it as to-read. I am into the Renaissance but I don't know much about it except from the dvd I watched on the Medici family. This ought to be helpful. Text is original to this site ItalianRenaissance.

Product links above are affiliate links. David is one of Michelangelo's most-recognizable works, and has become one of the most recognizable statues in the entire world of art.

Michelangelo Buonarroti (Born Michelangelo di Lodovico Buonarroti Simoni, 1475–1564)

The Italian Peninsula. Profile of a City: Venice. Log in to Reply. April 1, at am. Gertrud February 3, at am. Leave a Reply Cancel reply You must be logged in to post a comment. Michelangelo, David, , marble. The marble block used by Michelangelo was originally excavated for a statue to be carved by another sculptor in , but the block was not fully carved. When Michelangelo received his commission in , he was presented with the challenge of using the block which had already been worked upon to some degree.

He had to work with what he was given, and in this case it meant that the figure he carved would not project outward beyond the preset block of marble. The David we are presented with here is a nude man with a very muscular physique. His veins are visible in his arms and hands as he clutches the stones with one hand and the slingshot in the other.

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His hands and his head appear to be disproportionally large for his body, possibly because they were deemed more visually important for viewers who would see the statue high up on the exterior of the cathedral. Also, his left leg, which straddles the rocky base upon which he stands, appears a big too long for his body. Like the ancient Hellenistic and Roman sculptures who were masters at convincingly depicting the human anatomy, Michelangelo has depicted David so that his body responds to the stance he is in.

A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated) A Short Introduction to Michaelangelo (Illustrated)
A Short Introduction to Michaelangelo (Illustrated)

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