Word: michelangelos
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...This is Michelangelo as he was not meant to be seen. One has the illicit thrill of inspecting the mechanism of illusion, of seeing what devices and abbreviations he used to make sure the figures would "read" from restricted angles 65 ft. below. One thinks of him on the ladder, carrying the scheme of exaggeration in his head like a brimful bucket. On the curved surfaces of the ceiling and spandrels, he used cartoons, full-size drawings whose outlines were transferred to the plaster. But the lunettes, or flat semicircular panels, around the top of the Sistine's windows, show...
...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...
...well. During the previous night, however, intruders had forced a shutter of one of the chapel windows. Once inside, they cut away the altarpiece with a razor blade and marched out the front door with their prize: an 8-ft. by 7-ft. canvas, the Nativity, painted by Michelangelo Merisi da Caravaggio in 1609. The uninsured masterwork was valued at $3 million...
...Japanese Michelangelo or Van Gogh (or perhaps one should say that the Japanese Van Gogh is Van Gogh). The very idea of the avantgarde, that ruling myth in terms of which a century of artists from Manet to Joseph Beuys is conventionally discussed, is purely Western and has never had more than a surface appeal to the Japanese. The idea of cultural norms based on confrontation and "radical" displays of ego strikes them as embarrassing. The scheme whose parody is now being played to exhaustion among the graffitists and plate breakers of Soho-culture as a series of self-conscious...