Michelangelo - The Painter [antikvár]

FOREWORD Faro la p!it btlla opera (ht si sia mai falto in Italia MICHELANGELO Tn 1474,1 in Casentino, under a lucky and auspicious star, a noble and honest wife bore therefore a son to Lodovico di Ijonatdo Buonarroti Simoni, descending, as people say, from the most noble and ancient family of the Canossa Counts ( ) this child was a heavenly and divine being, far above common mortals, as later on was to be confirmed by star-reading, on which occasion it was seen that Mercurj' and Venus had smoothly entered Jupiter's second house, which meant that thanks to his hand and genius, this child could be expccted to create great and wonderful works.''' T/jaf is hoiv Vasari starts his account of the Hje and work oj Michelangelo, already evoked, a year before the appearance of tlx first edition of the Lives, by A/itonfrancesro Doni as a lonesome and thoughtful man, surrounded by his warble blocks, the very emhodiment of Diirer's melancholy. The notion that his contemporaries had about Michelangelo's personality and nmk seems to be fully true-to-fact. The saturnine type, bent on his art with a passion driven to despair, sometimes a prey to brutal fits of revolt yet often animated by the gentlest impulses, had already settled down in the conscience of the Kenaissance as an image of the secluded genius. The last g-eat Florentine belongs to a human type that Marsilio Ficino in De vita triptici had endowed with all the attributes required by a musarum sarcerdos.' hut to explain just by a somatic structure an entire work radiating the author's genius through all its joints is not enough in order to get telling impressions in connection with his creative attempts. Subordination of a work of art to a sometimes pre-established programme asks for a complex analysis of meanings. Combined research work on the great masterpieces permanently elicits new data which, compared with each other and with others, offer an ever more comprehensive picture not only of the work of art as such or of the evolution of the genre to which it belongs, but also of the spiritual culture of the age as a whole. It goes without saying that Michelangelo's work also lends itself to such an analysis and the results have often been surprising. For beyond its illustrative djaracter, beyond the mere possibility of rigid iconographie interpretation, any work of art is as Pierre Francastel has so aptly put it — a universe in itself. The assertion that this universe is a more or less faithful reflection of the artist's inner natwe has long become a truism. Yet any truism can and must be checked up. And it is only the examination of the courses of apparently invisible threads that can justify a perfectly commonplace axiom like the one mentioned above. Of course, one must work very carefully. The art historian must be possessed of the means of cultural history and his methods must have cultural anthropology as a backbone. It is hard to say what would be left of the genius of Michelangelo's work after a 'traditional' analysis, confined to iconographie interpretation. We do not intend and, confessedly, we cannot enlighten the reader fully. In fact this would only be possible after an exhaustive analysis of Michelangelo's work, which is far from being the aitn of these lines. Hence we shall limit owselves to signalling the problem and to landmarking its co-ordinates; with the qualification that though the present book (out of practical reasons) only deals with the gjreat Florentine's painting activity, between it and that of a sculptor, architect and even poet clear-cut distinctions cannot he made without the risk to impoverish the comprehension of his personality's multiple facets. With the qualification that, as is but natural, in the present case it is painting that marks the essentials of his philosophical thinking. As a continuous and concrete activity, the execution of the painting on the vault of the Sistine Chapel (1508—1512), then of the Last Judgment in the same chapel (1556—1541 ), followed by the frescoes in the Pauline Chapel, Conversion of St. Paul (1542—1545), and Crucifixion of St. Peter (1545—1550) absorbs less of Michelangelo's physical time than the time he devotes 1 Actually in 1475. ' G. V a s a t i, Le fill di piu eecellenli pillori, ttultori ed arrbitetU, Florence, 1568. ¦André Chastel, Mmih Fitin

Termékadatok

Cím: Michelangelo - The Painter [antikvár]

Kiadó: Meridiane Publishing House

Kötés: Fűzött keménykötés

Méret: 240 mm x 320 mm

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