Word: michelangelo
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...debt to Michelangelo is clear...
...shows, a litany of the Bunkerisms that have won All in the Family the respect of rednecks and the laughter of liberals. To Archie (Carroll O'Connor), the proudly bigoted head of the Bunker household, England is a "fag country," his wife Edith a "dingbat," the Renaissance master Michelangelo "that Dago artist," and Women's Lib a "dreaded disease." As for the theory of evolution, Archie tells his son-in-law Mike (Rob Reiner): "We didn't crawl out from under no rocks; we didn't have no tails, we didn't come from monkeys...
...Sistine Chapel. Text by Roberto Salvini, Ettore Camesasca and C.L Ragghianti. Vol. 1, 307 pages; Vol. 11, unpaged. Abrams. $275. When Michelangelo reluctantly began painting the ceiling in 1508, he still thought of himself primarily as a sculptor. He worked for years, mostly standing on the 62ft. high scaffolding rather than lying on his back, as hoary legend has it, and was interrupted by cramps, colds and periodic skirmishes with his testy patron, Pope Julius 11. When he finished in 1512, he was justly famous as "the divine Michelangelo." Ever since, writers have gossiped about, art historians studied, painters stolen...
...with as much success, as this monster of genius and talent, almost without rules, without theory, without learning or meditation, simply by the power of his genius and the model in front of him which he copied so admirably?" The cause of alarm was an Italian painter named Michelangelo Merisi da Caravaggio who, in the course of a short, fiery and often pitiable career, changed the face of 17th-century European art. That achievement is the subject of a loan show at the Cleveland Museum, "Caravaggio and his Followers," organized by Art Historian Richard E. Spear...
...modern as an artist, though he died 31 centuries ago. His work became a line of cleavage between the "modernists" and conservatives of Rome. For in the 1590s, when Caravaggio first settled there, Roman art had descended into glassy, learned vacuity. Painters were still traumatized by the memory of Michelangelo, a figure of such bulk that there seemed no way past him; at the same time, the Counter Reformation demanded an elevated, moralized tone from its artists. The result had nothing to offer Caravaggio-who was not, in any case, a particularly educated man and was impatient with the intellectual...