Word: michelangelo
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Guido Reni, most of this is deadwood and of interest mainly to specialists. Moreover, the climactic efforts of Caravaggio's career, like the Beheading of St. John the Baptist in Malta (which must be the most sublimely concrete work of the tragic imagination painted between the death of Michelangelo and the maturity of Rembrandt), are not here. So it is best to treat the Met's show as a preparation for pilgrimage and to ignore the blatant copies, pastiches and restored wrecks, such as The Magdalen in Ecstasy, The Toothpuller and The Martyrdom of St. Ursula, with which its closing...
...time, unpopular in his. So runs the stereotype of rejected genius, which identifies Caravaggio as the first avant-garde artist. Our time, with its craving for rapid and unnerving change in the look of art, was bound to love Caravaggio. He was called an evil genius, an anti-Michelangelo; his work was compared to an overpeppered stew, and it became a favorite pretext for centrist finger wagging in the 17th century...
...left of the Jacob-Joseph lunette bulge like those of a bodhisattva in a "mad" Zen scroll; and how this is reinforced by colors nobody had seen since the end of the 16th century. They had begun to disappear almost from the moment Michelangelo began laying them on the wet plaster...
...Walter Persegati, is one of the most courageous ever made in the field of art conservation. The work has three stages and will take until 1992. The years 1980 to 1984 saw the cleaning of the lunettes, depicting the ancestors of Christ--until now the least visible part of Michelangelo's immense scheme. The years 1985 to 1988 will be spent on the ceiling and spandrels--the figures of the giant nudes, the prophets and the sibyls, and the narrative of the Old Testament. The last four years are reserved for The Last Judgment. In all, it will have taken...
...look of the most grandiose and intimidating pictorial ensemble in the history of Western art is not a light matter. One of the difficulties of the job was, so to speak, metaphysical. Quite a body of interpretation has been raised on the traditional grayness of the Sistine frescoes. For Michelangelo was primarily a sculptor. He himself said so, especially when complaining that he had been forced to paint the Sistine, instead of getting on with the tomb for his tyrannous, charismatic patron, Pope Julius II. "I've grown a goiter at this drudgery," a poem of his on the matter...