Abstract The paper gives a detailed explanation of the work Michelangelo did on the ceiling of the Sistine Chapel. The paper explains his method, techniques and problems that he experienced during the four years it took to paint.The paper also explains the story of the ceiling and tells us that there are subplots that can be seen. According to the paper, this work is considered to be one of the greatest accomplishments of all time.
From the Paper "'A letter dated May 10, 1506 was the first evidence that Michelangelo was considered for the job. By this time, Julius had decided that Michelangelo would repaint the Sistine Chapel ceiling. Bramante, Julius' chief architect, discouraged the idea that Michelangelo be considered for the job. He questioned Michelangelo's lack of experience with painting figures and designing them in foreshortening, which he felt was essential for ceiling decoration. He also questioned whether Michelangelo had "the courage" to take on such a huge task. It has been suggested that Bramante wanted Raphael of Urbino who was a fellow townsman of Bramante to paint the ceiling, but commitments in Florence prevented him from being seriously considered. After Michelangelo had received this letter and gotten word of Bramante's negative statements of his abilities and character, he dropped an important fresco commitment in Florence and took on the task of repainting the famed Sistine Chapel. This may have been where the Bramante-Michelangelo feud originated and spanned years afterwards. He had hired five assistants to aid him in painting process. All in all, Michelangelo had painted three hundred and thirty-six assorted figures on the Sistine ceiling. This was an incredible feat and in the present, three hundred thirty-five and one-half of these figures remain. Michelangelo had proved Bramante wrong and turned the ceiling of the Sistine Chapel to one of the greatest artistic feats of the Renaissance or any period in time. The paintings on the ceiling are done in fresco, which is an incredibly difficult and daunting process. It has been described by many artists to be the most "macho" and "manly" form of the great painting methods where only the most confident and talented artists could excel. In a way, the fresco method of painting is similar to the lore of Michelangelo, almost mythical and larger than life. The method of fresco painting is somewhat simplistic, but incredibly difficult to master. An area of wet plaster is laid down on a specifically prepared ground, and then the artist paints on it. The colors of the pigments applied to the plaster fuse together while it dries. The result is a beautiful union of colors and plaster that cannot be matched by any other method of painting. Oil paints on canvas do bring out an inner glow, but it pails to the majestic quality of fresco. Each area of the plaster that is to be painted is called a giornata, a day's work. The problems of fresco painting are somewhat obvious. The time that the artist has to apply the paint is very limited and it usually means that the artist has only one attempt to successfully accomplish their objective before the plaster dries. The artist's first brushstroke is incredibly important because of this major time constraint. The penalty of not doing so means that the giornata must be destroyed and the whole process must be repeated all over again. This happened to Michelangelo and he had to destroy one of Christ's ancestors in the Achim and Eliud lunette. Fresco is obviously not suited for the faint hearted. The advantages of fresco must be seen first hand to truly understand its beauty. Michelangelo was a master of fresco painting because of the skill and efficiency of his technique. When the ceiling is analyzed, it is obvious that Michelangelo was incredibly efficient with his limited brushstrokes. It was obvious that Michelangelo worked with great speed, which is probably the most impressive aspect of the ceiling. One reason Michelangelo was able to paint so efficiently is because he utilized the backgrounds of the plaster; for example, he left the white in Adam's eye unpainted so the white color of the plaster would provide life. The famous little penis of Adam consisted of only two brushstrokes and must have taken him no more than a couple of seconds to complete. It only took Michelangelo a couple of seconds to paint something that has been and will continue to be admired by the whole world. That idea is just so unbelievable to comprehend. The ceiling of the Chapel was painted in two parts. The first part of the ceiling took Michelangelo about three years to complete. By the end of August 1510, the first half of the ceiling was finished. The second half took about fourteen months to complete. This is quite a difference in time and a very interesting situation".
Abstract This paper discusses two studies of Michelangelo's Magnifici Tomb in the Medici Chapel towards complementary, as opposed to different, conclusions. The studies reviewed are Andrew Morrogh's "The Magnifici Tomb - a Key Project in Michelangelo's Architectural
Career" and Estelle Lingo's "The Evolution of Michelangelo's Magnifici Tomb - Program versus Process in the Iconography of the Medici Chapel".
The paper relates that both studies are authoritative and careful contributions to the study of the Medici Chapel, the tomb in question and the career of Michelangelo. The paper also asserts that their different vantage points on the Magnifici Tomb help along what should be a broad approach to any artifact or installation, investigating origins, features and salient details in relation to context, remembering that there shall forever be different opinions which can be powerful guides towards personal appreciation and further study.
Outline:
Introduction
Andrew Morrogh - The Magnifici Tomb as a Key Project.
Estelle Lingo - Program versus Process and Iconography
Discussion
From the Paper "The errors made by Michelangelo included the level at which the viewer examined them, the focal point of three statues too low, a statue of the Madonna, on the other hand, requiring a higher viewing point. (p.594) As Morrogh concluded, imperfections and all, Michelangelo had been able to exercise considerable license in what he designed so tentatively and in its results, thanks to the nature of his patron. Michelangelo had mixed opinions concerning the tradition of classicism that would have satisfied many sculptors of his day, but his results were not just innovative but 'difficult' as Morrogh comments, still apt to draw mixed reviews from those examining the Magnifici Tomb in the present. From this article, the reader obtains much detail and most readers will enjoy the illustrations of very different drawings to which Morrogh refers, a familiar aspect of the Medici Chapel revealed to have been a much changing or even piecemeal affairs thanks to the patronage of Pope Clement who seems to have recognized Michelangelo's originality and given it free reign. One leaves this article with the impression of having enjoyed a 'solid' few pages of scholarship, the author plainly knowing far more on Italian Renaissance design and architecture of which this article indicates one quite small topic."
Tags: installation, origins, features, details, guide, history
Abstract This paper discusses Michelangelo's Sistine Chapel paintings and their relationship to the High Renaissance. The paper looks at how frescoes were a part of the High Renaissance and how Michelangelo changed the original concept of the ceiling and chapel to include both humanistic and classical inferences.
From the Paper "The purpose of this paper is to discuss Michelangelo's Sistine Chapel paintings and their relationship to the High Renaissance. When Julius II became Pope, he immediately proceeded toward the restoration of the Vatican then the capital of Western Christendom. He decided to finish the ceiling of the papal chapel previously decorated as a star-studded heaven just above some saintly figures more grandly than it had enjoyed before. In this way ,the most complex and grandiose program of painting that is to be found..."
Tags: High Renaissance, Michelangelo, the Last Judgement, frescoes, religious painting and art
Abstract This paper discusses symbolism and meaning that can be found within Michelangelo's painting of the Sistine Chapel, as well as the possible interpretations of the painting. The paper also describes the scenes in the painting and what could have influenced Michelangelo to paint the ceiling the way he did.
From the Paper "Michelangelo Buonarroti executed one of the grandest works of the Renaissance at the request of Pope Julius II. This work was the famous fresco ceiling of the Sistine Chapel of the Vatican in Rome. Michelangelo undertook this work in 1508 with some trepidation, for a number of reasons. The first being that he considered himself primarily a sculptor, secondly because a painting of this magnitude would keep him from working on a prior commission for the Popes' tomb at St Peter's Basilica. This project required the use of his skills as an architect and sculptor. But with the desires of the Pope on his shoulders, he was forced instead to focus his energies on this massive painting. In the beginning, Julius was interested in a depiction of the twelve apostles, which would replace Pope Sixtus IV's blue sky. Eventually, though, Michelangelo was given a free hand to proceed with the painting as he desired, and the result was one of the most complex and exuberant works ever created. When observing this work, it is to do it a great injustice by not considering it as a theological and intellectual exercise, in addition to being very strong aesthetically. This scholarly consideration raises a good deal of questions about the intellectual programme that motivated Michelangelo. The assumption that the plan behind this work was random is of course a possibility, but considering what we know of both the artist and the time period, it can be accepted that this work was the product of a great deal of religious and historical study. The amount of symbolism within the work is astounding, and because of its great depth and intricacies of meaning, whether or not Michelangelo arrived at this programme independently comes into question. More important, however, is the work itself: its symbols and how the viewer interprets them."
Abstract This paper is primarily a biographical report of Michelangelo's almost 90-year-long life from his grim childhood to the early influence of the Medici family to his commission to sculpt the "David" and paint the Sistine Chapel. Also included are photos of his sculptures "Bacchus", "Pieta", "David", "Rondanini Pieta" and his paintings on The Sistine Chapel.
I.Introduction
II.Body
A.Michelangelo's Early Life
B.Bacchus and Pieta
C.David
D.The Sistine Chapel Ceiling
E.The Tomb of Julius II
F.The Medici Tombs
G.The Last Judgment
H.Michelangelo's Final Years
III.Conclusion
From the Paper "One of the greatest artists of all time, a man whose name has become synonymous with the word "masterpiece", is Michelangelo Buonarroti. As an artist he was nearly unmatched; the creator of works of true beauty that express the full extent of the human condition. Yet, in a world where art flourished only with patronage, Michelangelo was caught between the conflicting powers and whims of the Medici family in Florence, and the Papacy in Rome. Unlike many artists of his time, his genius was recognized, but at a seemingly great cost to his personal life."
Tags: 14th, artist, bacchus, ceiling, century, chapel, david, judgment, julius, last, medici, renaissance, sculpture, sistine, tomb, tombs, pieta
Abstract In the mid 19th century, Le Corbusier designed buildings that relied upon the raw concrete and the use of light to emphasize the beauty of the structure. This paper presents an in-depth analysis of one of his structures, Notre-Dame-du-Haut, a chapel set high above the village of Ronchamp, and an excellent example of the nontraditional use of light and raw concrete. The paper discusses the location of the chapel, its functionality as a church, and its strange shape. The paper also includes diagrams, sketches, and photographs of Notre-Dame-du-Haut.
From the Paper "Le Corbusier's sketchbook was in fact the genius of his design. With unconscious thought and process he drew out his interpretation and concepts of site, religion, and the ever so precious pilgrimage to Ronchamp, gathering his own personal view of the world. His sketches are far more significant and go far beyond the origins of typical reference sources. He even went as far as to publish his drawings arranged in a small book. This book and these sketches provide for a broader understanding of the construction and thought process that went into Ronchamp."
Abstract This paper discusses the legacy of Sandro Botticelli, known as one of the best and most spiritually enlightened of the Neo-Platonic Renaissance painters who was eventually hired by the Pope to work on the Sistine Chapel. He was born to an artisan-class family of tanners where his artistic tempermant was ignored and started his working career as a goldsmith until he received his first apprenticeship as an artist. Eventually he rose to fame, gained more commissions, both creating panels and the like for rich merchant families and frescoes and other church decorations. He became known for his dreamy and melancholic mythic religiousity and implications of human form and feature and ranked among the greatest of the allegorical and mystical painters of his time.
From the Paper "Sandro's original apprenticeship as an artist was under the legendary Fra Filippo Lippi. In many ways this was a fortunate choice in masters; Botticelli's mystical and dreamy nature fit well with Lippi's penchant for the ideal and devotional. An apprenticeship in one of the more modern, naturalistic studios might have created a far different Sandro Botticelli, or hidden his actual talent. (Botticelli, 13) Lippi's influence is obvious in most of his student's early work, to such a degree that most of the earliest Botticelli paintings are virtually recreations of Lippi pieces, keeping content and design and scene in common while changing method and form ever so slightly. The resemblance between Botticelli's Madonna Guidi and Lippi's Madonna and Child with Angel is far from accidental."
From the Paper " The purpose of this research is to examine the artistic decoration of the Sistine Chapel by Michelangelo. The plan of the research will be to set forth the historical context in which the decoration of the chapel was undertaken, and then to discuss the work with reference to Michelangelo's sculpture and decor of other churches in the preceding periods, as well as to the significance of Michelangelo's complex relationship with Pope Julius II for the project.
The historical context for Michelangelo's decoration of the Sistine Chapel is the tension in the fifteenth century between the Church as the dominant institution in Europe and the increasing secularism of culture. In this regard, Gutek believes that the cultural traditions of the classical period never quite disappeared from the time of the fall of Rome and the emergence.."
Abstract Herman Melville's "Moby Dick" is a novel constructed as an allegory, with different representations of entrapment and imprisonment delineating man's place in the universe. The paper shows that these also have a spiritual element as the Pequod represents all mankind adrift on God's sea, beset by dangers on all sides and constantly tested for spiritual strength. The paper describes how images of death are also found throughout the book, foreshadowing the death of the ship and all its crew except the outcast, Ishmael, who survives to tell the tale by holding onto a floating coffin. Ishmael is free as he holds onto the ultimate prison, the prison that holds the dead.
Outline
Introduction
Allegory and Moby Dick
Images of Entrapment and Enclosure
C. The Pequod as an Enclosure for the Crew
II. The Novel
A. Motivations for Different Crew Members
1. Ishmael
2. Ahab
3. Stubb and Starbuck
B. Symbolism
1. The Pequod
2. The Sea
3. The Crew
4. Symbolic Chapters
C. Relationship Between the Pequod and the Whale
D. Imagery of the Whaleman's Chapel E. Theme of Isolation
F. Death and Entrapment Intertwined
1. The Ship
2. Ahab
3. Queequeg
III. Conclusion
From the Paper "Melville makes much use of symbols in Moby Dick, and many objects stand as symbols of other entities. The Pequod is one of the main symbols, and the ship becomes a symbol of the world, self-contained and moving across the sea. The crew represents all of humanity. The voyage itself has symbolic meaning, as a representation of the journey from birth to death. Queequeg's coffin becomes a symbol of death and then ends up as a symbol of life with Ishmael clinging to it after the Pequod goes down. In different chapters there are symbols that are explored at length, such as Chapter 60, "The Line," in which a rope attached to a harpoon represents all the things that bind people, tie them down, and pull them through life."
Abstract This paper introduces and analyzes the book, "For Love of the Game", by Michael Shaara. Specifically, it discusses the book in relation to other works: "The Old Man and the Sea" by Earnest Hemingway and "The Odyssey" by Homer. Perseverance is one reason baseball pitcher Billy Chapel has maintained his career, and perseverance is a key ingredient in the sports world, but also for survival in many other areas as well.
From the Paper "Perseverance and endurance usually lead to growth and knowledge in the end, and these stories all show that perseverance can lead to personal growth and transformation, just at it can lead to survival and competitive toughness. Throughout the book, Billy is continually reminded that he needs to grow up; in fact, he even thinks it to himself. "Billy Boy, Billy Boy, you'll have to grow up someday" (Shaara 11). His personal journey includes allowing himself to care about someone else more than he cares about the game he plays every day. When he finally allows himself to love Carol, he has completed his journey, and his enduring love of the game encompasses his enduring love of the woman who has supported him all these years."
Abstract This paper looks at the Renaissance, a term used to describe the period of European history dating from the early 14th century to the late 16th century, predominantly in Italy. In particular, it examines the revival of the values and artistic styles of classical antiquity that is evidenced in many of the great works that were produced during that period. It discusses three of the most characteristic and highly popularized works of the Renaissance: Botticelli's "The Birth of Venus"; Michelangelo's "Sistine Chapel"; and Michelangelo's "David". It emphasizes the artist's intent, its impact on Renaissance culture, and why the works are considered a return to classical styles and values.
From the Paper "The Birth of Venus is considered one of the greatest masterpieces of the Renaissance, incorporating both classical and Christian values. Painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello between 1485 and 1486, The Birth of Venus was a revival of the classic Greek mythological goddess of Love. But there is a twist. Sandro Botticelli, was a student of Marsilio Ficino, head of the Platonic Academy. One of the focuses of Neo-Platonism was beauty and divine (Christian) love. Sandro Botticelli combined divine love (Venus was made to be the Virgin Mary) and beauty with the Classical Theme of Venus ? The Goddess of Love, to produce one of the most beloved works of the early Renaissance."
Tags: botticelli, venus, michelangelo, sistine, chapel, david
This paper review an article written by historian Benjamin Kaplan "Fictions of Privacy: House Chapels and the Spatial Accommodation of Religious Dissent in Early Modern Europe".
675 words (approx. 2.7 pages), 1 source, 2005, $ 26.95
Abstract This paper explains that historian Benjamin Kaplan in his article "Fictions of Privacy" explores the Early Modern Period in Europe and details the negotiation between the private and the public as it related to religious practice. The author points out that the article reveals the incongruous setting for religious observance in many Early Modern European homes. The paper concludes that the creation of the private/public demarcation was vital to preventing violence and bloodshed.
From the Paper "Benjamin Kaplan's "Fictions of Privacy: House Chapels and the Spatial accommodation of Religious Dissent in Early Modern Europe", is a very intriguing and worthwhile article. The introduction to the article is excellent, inasmuch as it vividly - and unexpectedly - reveals the incongruous setting for religious observance in many Early Modern European homes - the house attic (2002, 1031). The article then proceeds to launch into a very detailed description of the 'attic chapel' (1031-1033); this description is accompanied on page 1033 with a photo. What is significant about the article's introduction is that, in surprising the reader by first portraying the former residence of the long-departed Jan Hartmann as simply a well-preserved dwelling from the past, the surreptitious nature of the house chapel is under-scored."
Abstract In this article, the writer discusses Ross King's 2003 non-fiction account of the painting of the ceiling of the Sistine Chapel, 'Michelangelo and the Pope's Ceiling'. The writer notes that the work reflects on all the components involved - the ceiling, Michelangelo's frescoes - as well as his involvement. More importantly however, the writer maintains that this title is a reflection on Michelangelo's detachment from the job which has become one of his crowning achievements and that it was in fact the ceiling of the Pope who commissioned the job, and not of Michelangelo. The writer points out that King goes to great lengths to make these points clear and he does so with great accomplishment that the reader is left to believe that Michelangelo, one of the greatest artists in world history, did in fact struggle with this job and he was just biding his time until he could again sculpt. The writer concludes that King makes his point convincingly, with utmost care and ample factual evidence, while creating a historical account which reads almost like a novel.
From the Paper "One such example of suspense in a historical work has to be the story of a young master in Rome who shares the city with Pope Julius II and the Sistine Chapel. Not Michelangelo, this is Rafael who is praised as a prodigy by those of his time and whose story is told by King intermittently throughout. Upon reading, it is almost as if one is kept waiting for some kind of collision between the two artists, Rafael and Michelangelo. Although nothing comes of it, the ambiguous tone in which Rafael is discussed, leaves a great deal to be anticipated by the reader. Also, Rafael's depiction is brought up through the work and without any sort of pattern or predictability. Just one example of King's ability to keep his work interesting, Rafael is an interesting subject that adds more to the story."
Abstract This paper describes a compline service and the writer's observations of the service after having attended one at the Chapel of the Cross church. The paper describes the start of the service, the first song of the service, and the practice of exiting the church in complete silence after the service has ended. The writer concludes that the visit to the compline service taught him a great deal about early music and worship services.
From the Paper "Before going to the service, I was very intrigued about it because I had never attended a service like this one before. When I first entered the church, the choir was warming up and someone was swinging incense throughout the church. It was very interesting to take in the majestic beauty of the church while everyone was getting ready for the service. Inside, the church was very magnificent and beautiful and I was taken aback by the size and ornate beauty of it all."
Tags: benedictine bedtime silence songs, live performance
Abstract This paper looks at Michelangelo's painting on the ceiling of the Sistine Chapel in Rome through the eyes of three university students who are being introduced to it by the author. The writer provides the students with the historical and artistic background to the painting, as well as a brief overview of the painter's life and ideals. The writer also points out similarities between Michelangelo's painting and the fresco "Galatea," by Raphael, and "The Last Supper," by Leonardo da Vinci. The writer describes the reactions of the three students, which show that they are all overwhelmed by the spiritual aura of the painting.
From the Paper "Michelangelo Buonarroti (1475 to 1564) was one of the most talented and complex masters of the High Renaissance. Frequently irascible and short-tempered, Michelangelo was often impatient with the shortcomings of others as with his own and his jealousy of Raphael, his dislike of Leonardo and his almost never-ending problems with his artistic patrons, did not quench his ever-burning desire and devotion to great art. As a young man, Michelangelo was apprenticed to the painter Ghirlandaio and soon found himself under the protection of Lorenzo the Magnificent. When the Medici family fell in 1494, Michelangelo fled to Bologna, where he did some work for the church of San Petronio. In 1501, Michelangelo found himself in Rome and soon returned to Florence because of the possibility that "the city would permit him to work on a great block of marble called the Giant" that no other sculptor (Michelangelo considered himself as a sculptor and not as a painter!) had been able to use. It was this situation which tradition holds led to Michelangelo to exclaim "The statue (i.e., David) was already in the stone. All I did was remove the excess" (Grimm, 325)."
