Rodin and Michelangelo

Rodin and Michelangelo PDF

Author: Flavio Fergonzi

Publisher: Philadelphia Museum (PA)

Published: 1997

Total Pages: 244

ISBN-13:

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Published to accompany an exhibition of sculptures and drawings by two of history's greatest artists. While examining the career of Auguste Rodin, the book discusses his debt to Michelangelo.Prominent scholars elaborate upon Rodin's early departures from traditional academic sculpture and his 1876 trip to Italy. where he came face-to-face with the full force of Michelangelo's work. Essays about works are coupled with color illustrations.

Rodin: The Man and His Art, with Leaves from His Notebook

Rodin: The Man and His Art, with Leaves from His Notebook PDF

Author: Judith Cladel

Publisher: Palala Press

Published: 2018-02-19

Total Pages: 386

ISBN-13: 9781378059876

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Rodin

Rodin PDF

Author: Judith Cladel

Publisher: Palala Press

Published: 2015-08-31

Total Pages: 386

ISBN-13: 9781340641030

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Michelangelo

Michelangelo PDF

Author: Charles Clément

Publisher: Forgotten Books

Published: 2015-06-15

Total Pages: 150

ISBN-13: 9781330095690

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Excerpt from Michelangelo There are artists whose achievement is so great that progress in the arts seems to stop with their efforts. Smaller men found schools, lead art forward, open up new avenues; great men fulfil the promise of their age and stand at the very culmination of a tendency. Imitation of their supreme performances becomes futile; yet departure from their methods seems impossible in face of their success. So Shakespeare, so Beethoven, so Michelangelo. In sculpture, at least, Michelangelo stands so preeminent that the art which had begun its emancipation from medieval crudity with thirteenth century Niccolo Pisano and climbed through tho work of such men as Orcagno and Jacopo of Siena to that of Ghiberti, Donatello and Verrocchio, paused for centuries at the point to which the creator of the David, the Moses and the tomb of Lorenzo carried it. Only when Rodin, almost in our own day, working as a modeller rather than as a sculptor, turned the art towards impressionism in his later work; when Mestrovitch reverted to Assyrian and Egyptian models; when the demand for expressionistic art rather than truth to nature sent some of the sculptors to primitive savage art, others to abstract form; and many to a purely decorative treatment of the facts of nature; only then did plastic art escape his domination. He remains for us still the sculptor whose works can stand alongside the best masterpieces of antiquity, and whoso faithfulness alike to nature and to an ideal conception of form never falters throughout the great series of his works. Alongside this performance as a sculptor stand his equal one as a painter and draughtsman. Indeed, the frescoes of the Sistine Chapel are for many his supreme achievement. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Michelangelo and artworks

Michelangelo and artworks PDF

Author: Eugène Müntz

Publisher: Parkstone International

Published: 2023-11-16

Total Pages: 254

ISBN-13: 1781608571

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Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.