Word: michelangelo
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Renaissance Artists' Self Images: Michelangelo and Others: Kathleen Weil-Garris Brandt, Remis Auditorium, Museum of Fine Arts...
...begun to embody an immense plastic power. Sometimes these creatures, knotted in contrapposto, seem desperately mannered; but there are other moments when the smearing and knotting of flesh, not so much depicted as reconstituted in the fatty whorls and runs of paint, take on a tragic density closer to Michelangelo than to modernism. Among those artists who, in the past century, have tried to represent the inwardness of the body, Bacon holds a high place, along with Schiele, Kokoschka and Giacometti. He breaks the chain of pessimistic expectation by taking his prototypes beyond themselves into grandeur. In earlier art there...
Among the great European collections of the traditional graphic arts, the Albertina's has always had a special place. Its holdings are vast: more than 1.5 million items, ranging from playing cards to Michelangelo drawings. Yet what counts is not their gross but, so to speak, their net: the core of old master drawings and prints assembled, over a lifetime of passionate connoisseurship, by Duke Albert of Saxe-Teschen (1738-1822). At a time when any crocodile can become a "major" collector by scrawling a digit and six zeroes on a check for a B+ Van Gogh, it is worth...
...part of the show's week of live broadcasts from Rome. The Pope extended a personal welcome to the NBC crew at his general audience and expressed his hope that the media exposure in the U.S. during Holy Week would "bear much spiritual fruit." After a semiprivate Mass under Michelangelo's frescoes in the rarely seen Pauline Chapel, the Pope met briefly with Today Hosts Jane Pauley and Bryant Gumbel, both of whom asked the Pontiff to bless their children. Also present was Pauley's usually camera-shy husband, Cartoonist Garry Trudeau, who afterward remarked, with a trace...
...equivalent, perhaps, of our "postmodern" cult of irony--Caravaggio's work proposed a return to the concrete, the tangible, the vernacular and the sincere. For all the theater and guignol in his work, Caravaggio had far more in common with the great solidifiers of the Renaissance, from Masaccio to Michelangelo, than with the euphuistic wreathings of late mannerism. He reclaimed the human figure, moving in deep space in all its pathos and grandeur, as the basic unit of art--the one that provokes the strongest plastic feelings by mobilizing our sense of our own bodies. He freed it from...