In Michelangelo's Mirror

In Michelangelo's Mirror

Author: Morten Steen Hansen

Publisher: Penn State Press

Published: 2013

Total Pages: 238

ISBN-13: 0271056401

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"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.


Michelangelo Pistoletto

Michelangelo Pistoletto

Author: Michelangelo Pistoletto

Publisher: Walther Konig Verlag

Published: 2011

Total Pages: 0

ISBN-13: 9783863350543

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For his 2011 exhibition at the Serpentine Gallery, recorded in this volume, Arte Povera veteran Michelangelo Pistoletto (born 1933) devised a chest-high labyrinth made of cardboard, to draw visitors through the galleries and steer them into encounters with various sculptures.


Michelangelo's Inner Anatomies

Michelangelo's Inner Anatomies

Author: Christian K. Kleinbub

Publisher: Penn State University Press

Published: 2020

Total Pages: 0

ISBN-13: 9780271083780

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The liver and desire -- The heart under siege -- The love of the heart -- Faith in the heart -- The brain, judgment, and movement.


The Mirror and the Palette

The Mirror and the Palette

Author: Jennifer Higgie

Publisher: Simon and Schuster

Published: 2021-10-05

Total Pages: 336

ISBN-13: 1643138049

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A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.


The Lost Battles

The Lost Battles

Author: Jonathan Jones

Publisher: Vintage

Published: 2012-10-23

Total Pages: 427

ISBN-13: 030796101X

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From one of Britain’s most respected and acclaimed art historians, art critic of The Guardian—the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic. And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart. In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision. Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael. A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.


The Muddied Mirror

The Muddied Mirror

Author: Jodi Cranston

Publisher: Penn State University Press

Published: 2010

Total Pages: 188

ISBN-13:

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Extends formalism to facture and situates the materiality of Titian's later works within the late sixteenth-century interest in embodiment and violence rather than within the Renaissance ideals of classicizing beauty and perfection.


Michelangelo's Christian Mysticism

Michelangelo's Christian Mysticism

Author: Sarah Rolfe Prodan

Publisher: Cambridge University Press

Published: 2014-04-14

Total Pages: 269

ISBN-13: 110704376X

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In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production.


Sayonara, Michelangelo

Sayonara, Michelangelo

Author: Waldemar Januszczak

Publisher: Da Capo Press

Published: 1991-10-15

Total Pages: 228

ISBN-13: 9780201567502

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Januszczak (literary editor, art critic, and now arts editor for the Brit's Channel 4) has written his impressions of the restoration of Christianity's greatest masterpiece. Witty, deeply-informed, biased, and, at spots, murky with allusion, it is a lively and charming, if very personal, commentary. No bibliography. Annotation copyrighted by Book News, Inc., Portland, OR


The Voice of Pistoletto

The Voice of Pistoletto

Author: Michelangleo Pistoletto

Publisher: Rizzoli Publications

Published: 2014-10-21

Total Pages: 0

ISBN-13: 0847843874

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A dynamic and far-reaching dialogue with one of Europe’s most influential contemporary artists about his vision of unifying art and everyday life. In 2013, at the age of eighty, Michelangelo Pistoletto was the subject of a six-month exhibition at the Louvre in Paris. Here, in an insightful, passionate, and humorous dialogue with his interviewer, Alain Elkann, he reflects on his legacy. Illustrated with more than two hundred photographs of his life and work, The Voice of Pistoletto demystifies the story of the growth of an artist, candidly discussing his inspirations; his relationships with gallerists, critics, and curators of great renown; and the comparisons and critiques of his fellow contemporary masters, from Magritte to Picasso, Koons to Cattelan, Giacometti to Bacon. The result is a conversational collage that illuminates Pistoletto’s own creative life and gives readers a privileged view of the history of contemporary art in general.


Michelangelo's Art of Devotion in the Age of Reform

Michelangelo's Art of Devotion in the Age of Reform

Author: Emily A. Fenichel

Publisher: Cambridge University Press

Published: 2023-07-20

Total Pages: 389

ISBN-13: 1009314386

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In this volume, Emily A. Fenichel offers an in-depth investigation of the religious motivations behind Michelangelo's sculpture and graphic works in his late period. Taking the criticism of the Last Judgment as its point of departure, she argues that much of Michelangelo's late oeuvre was engaged in solving the religious and artistic problems presented by the Counter-Reformation. Buffeted by critiques of the Last Judgment, which claimed that he valued art over religion, Michelangelo searched for new religious iconographies and techniques both publicly and privately. Fenichel here suggests a new and different understanding of the artist in his late career. In contrast to the received view of Michelangelo as solitary, intractable, and temperamental, she brings a more nuanced characterization of the artist. The late Michelangelo, Fenichel demonstrates, was a man interested in collaboration, penance, meditation, and experimentation, which enabled his transformation into a new type of religious artist for a new era.