Word: michelangelos
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Dates: during 1980-1989
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...overwhelming sexual frankness, and the refusal to idealize the body's postures; Rodin's poses do not belong to earlier sculpture. Then, finally, there is the fragmentation of the body itself as a sculptural object. Rodin's work was permeated by his love of Michelangelo and the expressive power of the non-finito, the sculpture as unfinished block. But his use of the "partial figure"-the headless striding man, the ecstatically capering figure of Iris, Messenger of the Gods-went beyond such conventions as the body not yet released from its mass of raw stone, or even...
...also right, for Rodin was a man of 19th century amplitude and not 20th century doubt. What sculptor, today, could one expect to possess such reserves of feeling, such an indifference to the errors of his own fecundity, or so unrestrained a tragic sense? To compare him with Michelangelo is not, in the end, impertinent, for Rodin was one of the last artists to live and work in the belief that making sculpture-despite the potboilers and failures in his output-was a moral act, that it could express one's whole sense of being in the world...
...letter of 1535 in which Pope Paul III hires "our beloved son, Michelangelo" as architect, sculptor and painter for the unfinished church of St. Peter's. As part payment, the Pope grants the young painter all the tolls from a Po River ferry crossing near Piacenza for life...
...mood, moguls turned frantic, searching their silk purses for overpriced sows' ears. Penny pinching was back in style, and the omnipotent auteur was on the ropes. U.A. Executive Steven Bach, who once called Cimino "the Michelangelo of film," now pointed out that his director had been "behind five days in shooting- in six days." Universal's Ned Tanen noted that The Deer Hunter, which his studio coproduced, had gone 50% over budget. Sherry Lansing of 20th Century-Fox assured the company's owner-to-be, Marvin Davis, that "there are no Heaven 's Gates here." When...
...destroying clouds, Leonardo found his sign for the dissolution of all matter: infinite energy, seen with detachment. These were his final answer to the Renaissance ideal of man as the measure of all things, and to the comforting delusion that human beings occupy the center of the universe. Michelangelo took a whole fresco to describe the end of the world-one kind of achievement. Leonardo managed to put it, so to speak, on the back of a postcard, which may be one reason why we still want to claim him, despite our ignorance of him and his vast cultural distance...