Michael Angelo Buonarroti With Translations Of The Life Of The Master By His Scholar, Ascanio Condivi, And Three Dialogues From The Portugese By Francisco d'Ollanda
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- Englisch ausgewählt
47,99 €
inkl. gesetzl. MwSt.,
Beschreibung
Produktdetails
Einband
Taschenbuch
Erscheinungsdatum
29.08.2026
Verlag
DanyelSeitenzahl
256
Maße (L/B/H)
22,9/15,2/1,4 cm
Gewicht
376 g
Sprache
Englisch
EAN
9798182702676
HE RAPE OF DEIANEIRA, ORTHE BATTLE OFTHE CENTAURS, AND THE ANGEL OF THE SHRINE OF SAINT DOMINIC All accounts agree as to the precocity of the genius of Michael Angelo, and Piero Soderini vouches for its practical character in the words quoted above. It was not until he had suffered from the procrastination and uncertainty of the patronage of the Popes, that his work took him so long to finish that sometimes it had to be left incomplete. His early works were remarkable, not only for their high finish but also for the expedition with which they were carried out. Condivi has given us the story of his early difficulties and of his first pic- ture,(60) probably in Michael Angelo's own words; we may supplement this account by the following extract from Vasari, who gathered his infor- mation from the gossip of the workshops of Florence, and from Ridolfo Ghirlandaio, the son of his first master. "Michael Angelo grew in power and character so rapidly that Domenico(61) was astonished, seeing him do things quite extraordinary in a youth, for it seemed to him that he not only surpassed the other students, of whom Domenico had a large number, but that he often equalled the work done by him as master. Now, one of the lads 3 CHARLES HOLROYD who studied under Domenico made a pen-drawing of some women, draped, after Ghirlandaio. Michael Angelo took up the paper, and with a thicker pen went over the outline of one of the women with a new line, correcting it, and making it perfect, so that it is wonderful to see the difference between the two styles, and the ability and judgment of a boy, so spirited and bold that he had the courage to correct his master's handiwork. This drawing is to- day in my possession, valued as a relic. I had it from Granacci to put it in my book of drawings with others given to me by Michael Angelo. In the year 1550, being in Rome, I, Giorgio, showed it to Michael Angelo, who recog- nised it and was pleased to see it again, saying modestly that he knew more of art as a child than now as an old man.(62) It happened that Domenico was working in the great Chapel of Santa Maria Novella, and one day when he was out Michael Angelo set himself to draw from nature the scaffolding, the tables with all the materials of the art, and some of the young men at work. Presently Domenico returned, and saw Michael Angelo's drawing. He was astonished, saying this boy knows more than I do; and he was stupefied by this style and new realism: a gift from heaven to a child of such tender years." The first art school of Michael Angelo was the beautiful Church of Santa Maria Novella, called by him affectionately "Mia Sposa." Here, day by day, he beheld the "Last Judgment" of Orcagna, the enthroned figures in the Spanish Chapel, and the solemn blue Madonna, now in the Capella Ru- cellai, with its little figures of prophets on the frame that are already almost MichaelAngelesque. Here he transferred cartoons for Domenico and painted draperies and ornaments; here he mixed colours for fresco painting after the Florentine fashion; and here possibly he first painted on a vault. No certain trace of his handiwork can be identified upon the walls, but there is a nude figure seated upon the steps resting his chin upon his hand in the fresco of
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