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Michelangelo di Lodovico Buonarroti Simoni?, 2001.
A discussion of Michelangelo, his life, art and influence on the Renaissance.
1,975 words (approx. 7.9 pages), 6 sources, $ 62.95
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Abstract
A discussion of the artist Michelangelo. The author provides a brief overview of his life, a discussion of his major works, his contributions to society and his influence on the Renaissance.
From the Paper
"The word Renaissance, used for the first time by Vasari in his book "Vite" to refer to the historic period between the late 14th century and the second half of the16th century, was meant to indicate the new birth, the re-birth of art. Fundamentally, from the philosophical point of view, the Renaissance also meant naturalism, in other words, the study of man and the universe without the use of metaphysics. It was thereby obvious that in Renaissance man became the center and measure of all things, a chosen creator who echoes the deep harmony between the microcosm and the macrocosm. For Italian artists who studied the ancient statues, they were therefore aiming at achieving a similar rendition of physical reality by using rediscovered techniques. For example, Renaissance sculptors would make use of perspective, nudes and equestrian statues as subject. The revival of interest in the Ancient Greek and Roman civilizations, seen from a free and lay point of view, made it possible to uphold man and his possibilities of free thought and action in the period of Renaissance. Through artistic rebirth, the re-appreciation of man led to the culmination of several of the greatest artworks in the history of human being."
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Michelangelo: The "Renaissance Man", 2001.
This paper describes Michelangelo's multi-faceted work as a true man of the Renaissance era.
2,725 words (approx. 10.9 pages), 10 sources, APA, $ 81.95
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Abstract
This paper explores the great body of work of Michelangelo di Lodovico Buonarroti Simoni during the height of the Italian Renaissance era. This describes his enormous contributions as a sculptor, painter, architect and less well known -- as a poet. His works in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
From the Paper
"When we think of the term "Renaissance man" (or "woman" of course) we are thinking of someone exactly like the man who was considered the greatest painter of his time and who has come to be known to us by his first name alone -- that honor usually reserved for musicians and movie stars. Michelangelo -- in full Michelangelo di Lodovico Buonarroti Simoni, is still admired as one of the greatest painters and sculptors of the Italian Renaissance. This paper examines his contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today. His contributions in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). People who can name only a handful of works of art can name creations by Michelangelo, including his frescoes on the ceiling of the Sistine Chapel, which are probably the best known of his works today. However well known he is for the Sistine Chapel, the artist himself considered his greatest talents lay in the area of sculpture. However, even as he focused on sculpture, he also practiced his other art forms seriously. This was in at least some measure because he had a number of role models: An artist's practicing of several arts at the same time was certainly not unusual in his time. Artists felt comfortable with such technical diversity ? in a way that they generally do not do so now ? because they were taught to focus on the commonalities among all the different art forms ? such as perspective or line (Drury, 1999, p. 41)."
Table of Contents
Introduction
The Artist as Sculptor
The Artist as Architect
The Artist as Poet
The Artist as Painter
Conclusion
References
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Michelangelo and Da Vinci, 2006.
A review of Michelangelo Buonarroti's sculpture, "David" and Leonardo Da Vinci's painting, the "Mona Lisa".
943 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper discusses and analyzes the art of Michelangelo Buonarroti and Leonardo da Vinci. Specifically, it focuses on Michelangelo's sculpture "David", and Da Vinci's painting the "Mona Lisa". According to the paper, studying these two masterpieces can give a true understanding of artistic components and great technique.
From the Paper
"It is clear by the time Michelangelo created this work (from 1501 to 1504) he had honed his craft. The piece is extremely well crafted, showing a good understanding of the human form and physique. David is an ideal man, with a pleasing form, just the right amount of musculature, and kind, youthful features. Michelangelo is adept at communicating his ideas through his work, and David is no exception. The figure exudes strength, but youthful insecurity as well, along with grace and natural beauty. As one art critic notes, "The result looks natural, a unified pose rather than an accumulation of observed details. It is, however, an artifact, a simulation of nature" (Hibbard, 1985, p. 56). Michelangelo's work is just as memorable as Da Vinci's is, because both men combine many artistic elements in their works to make them seem real and alive to the viewer. "
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Michelangelo's David, 2002.
This paper is an in-depth look at the life of the artist, Michelangelo Buonarroti.
1,655 words (approx. 6.6 pages), 8 sources, $ 53.95
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Abstract
This paper examines the life and times of Michelangelo and the influence his works had on the Renaissance. Particular attention is given to the sculptor "David" that was completed in 1501 and became a symbol of the Italian city of Florence. The other artists of the period are also examined and their works are compared to Michelangelo's in order to give us a thorough understanding of the Renaissance period.
From the paper:
"Michelangelo embodied many characteristic qualities of the Renaissance. He was an individualistic and a highly competitive genius. Michelangelo was not afraid to show humanity in its natural state - nakedness; even in front of the Pope and the other religious leaders. Michelangelo portrayed life as it is, even with its troubles. He wanted to express his own artistic ideas. When Michelangelo created his sculpture of David he took in consideration the qualities of the Renaissance as well as his own qualities, which had been shaped by his background."
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The Life and Works of Michelangelo, 2002.
The life and work of the Renaissance artist, Michelangelo Buonarroti, and the technique and significance of his works.
1,868 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
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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."
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Raphael, Da Vinci and Michelangelo, 2005.
A paper on the master artists of the High Renaissance: Raphael Sanzio, Leonardo Da Vinci and Michelangelo Buonarroti.
1,418 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper looks at how these masters, by making their figures come alive as if made out of flesh and blood, symbolize the loftiest goals of the High Renaissance. The paper further looks at how the artists created a new artistic profession that exhibited its own rights of expression, its own character and its own claims to greatness within western civilization.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the rich and powerful De Medici family run by Cosimo De Medici and later on by Lorenzo De Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" (ca. 1492 to 1520) produced works of such authority and magnitude that later generations of artists were forced to imitate it in order to compete with the growing competition within Italy and northern Europe. The various masters of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
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Michelangelo, 2002.
An overview of the qualities in artist, Michelangelo which made his work so famous.
1,400 words (approx. 5.6 pages), 10 sources, $ 53.95
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Abstract
Dante's poetry and Michelangelo's art were defended in very similar terms. At least one of Dante's defenders compared him explicitly to Michelangelo. For Michelangelo, the body's beauty is the way into the soul. Nature and antiquity were touchstones for Michelangelo. Michelangelo's last sculpture, his Pieta, has long stood out as his most emotional and ethereal work. Michelangelo's roughly chiseled last sculpture shows a strong gravitational pull. Furthermore Michelangelo intended the work to be erected on his own tomb. Secrets, dissections, crime, commission, and absolute passion for his work all mark Michelangelo's work.
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Da Vinci, Michelangelo, and Vroom, 2004.
A comparative analysis of the art of Leonardo Da Vinci and Michelangelo to that of Hendrick Cornelisz Vroom.
1,703 words (approx. 6.8 pages), 3 sources, MLA, $ 55.95
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Abstract
This paper looks at how the work of Leonardo Da Vinci and Michelangelo Buonarroti expressed the Renaissance ideals that are now seen as inspired genius and the universal man. In comparison, it explores how the realism of Dutch art, such as that expressed in Vroom?s "Sea Battle", is very different from works rendered during the High Renaissance, due mostly to the complete absence of religious iconography. It discusses how the greatest difference lies in the fact that Vroom?s painting reflects future artistic movement toward realism that would culminate with the beginning of the Industrial Revolution in the early to mid 1700s, a time when the works of Da Vinci and Michelangelo would be viewed as remnants of a past age filled with idealism and the constraints of religious temperament.
From the Paper
"One of his greatest artistic accomplishments lies in the refectory of the church of Santa Maria delle Grazie in Milan, Italy, namely The Last Supper which is considered by many as his most impressive work. This painting is the first great figure composition of the High Renaissance and is definitely the greatest interpretation of its themes. Christ and the twelve apostles are seated in a simple, spacious room at a long table set parallel to the plane of the picture. The highly dramatic action of the painting is made still more emphatic by the placement of the group in the austere, quiet setting. Christ, with his hands outstretched, appears to be confirming that one of his apostles will betray him which causes a wave of intense excitement among the group as each one asks himself and his comrades which one will be the culprit."
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Michelangelo, 2004.
A portrait of the Italian painter, Michelangelo, including his major works.
1,954 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
An overview of the life and work of painter and artist, Michelangelo Buonarroti. The paper begins with a description of his early life growing up in Florence, Italy. The paper then looks at the incredible art he produced, including the most famous statue of David, which stands today in Florence. The writer notes the strong influence of religion on all of Michelangelo?s work.
From the Paper
"Michelangelo is described by many as a genius. Before Michelangelo, there had been nothing like his work. Michelangelo brought a ?realism to art, freeing it from the stiff formality of the preceding centuries? (Lace 7). Michelangelo was different because he not only wanted to carve something that was natural looking, but he desired to express emotions in his subjects. His unique style has influenced many artists. In fact, it is noted that artists from all over Europe traveled to Italy just to study his work. In fact, his innovations in architecture are imitated today. His technique is sketching the human body are also imitated by artists. (7) Michelangelo is important because he caused the public to ?reevaluate its view of artists?."
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Michelangelo & the Pope's Ceiling, 2007.
This paper provides a review of the work 'Michelangelo & the Pope's Ceiling' by Ross King.
2,452 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
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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."
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Michelangelo's Magnifici Tomb in the Medici Chapel, 2008.
A discussion of Michelangelo's Magnifici Tomb in the Medici Chapel, based on a study by Andrew Morrogh and a study by Estelle Lingo.
1,917 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
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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."
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Michelangelo and ?The Creation of Adam?, 2004.
Biographical information about Renaissance painter, Michelangelo, and an analysis of one of his famous works, "The Creation of Adam".
2,061 words (approx. 8.2 pages), 7 sources, MLA, $ 65.95
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Abstract
Painter, sculptor, poet, and architect, Michelangelo dominated the art scene for almost the whole of the 16th century. This paper examines the time in history, known as the High Renaissance, in which Michelangelo created his masterpieces, touching on other painters of the time, such as Leonardo da Vinci. The paper then discusses Michelangelo's biography, patronage, and commissions. Finally, it presents a detailed analysis of "The Creation of Adam", a ceiling centerpiece in the Sistine Chapel.
From the Paper
"The artist depicts the sublime act of creating Adam through a simple touch of the finger. A touch, yes, but not completely physical: God?s index never touches Adam?s, but let?s us imagine God?s whole power. Between God?s index and Adam?s finger, one can see the glitter of a superior will and of a superior power. Symbolically, God is surrounded by angels and by an elliptical mantle that signifies the initial ?cosmic Egg? from which everything emerged. One can notice that Adam himself forms an ellipse, but only an incomplete one: he needs God?s soul-giving touch for him to complete himself as a being."
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Michelangelo: "The Calling of St. Matthew", 2001.
An analysis of Michelangelo's painting "The Calling of St. Matthew".
2,545 words (approx. 10.2 pages), 8 sources, $ 77.95
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Abstract
This paper discusses Michelangelo's painting 'The Calling of St. Matthew" It discusses composition and meaning in the painting. The author also looks at Michelangelo's use of style and symbolism to convey a theme and message in his painting.
From the Paper
"Michelangelo Caravaggio is considered one of the greatest of the old master painters. Educators and critics alike praise his work. He is the subject of several books and a film. Many books on Caravaggio exist which discuss his work, however, one might gain a better understanding by examining a single piece thoroughly. One of Caravaggio?s better known paintings is The Calling of St. Matthew."
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Michelangelo?s ?David?.
This paper is an essay, which discusses the design elements of Michelangelo?s ?David?.
1,240 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper explains that Michelangelo?s sculpture of David is an excellent example of how an artist can combine the principles of design to create a masterpiece: balance, unity, movement, pattern, emphasis, rhythm, and contrast. The author points out that the visual equilibrium of the sculpture, or its balance, is asymmetrical; the statue is shaped with an ?S? curve, which combines the elements of balance and grace. The paper relates that the element of pattern in David reveals Michelangelo?s genius of human anatomy, for example, the veins in David?s right hand.
From the Paper
"Michelangelo also displays an excellent use of contrast in David. David?s hair is wavy and his skin is smooth. Contrast can also be seen in the wrinkles on David?s face, the veins in his hands, and in the texture of his slingshot. The form of the statue also plays with shadows and light, which gives it a realistic feel. In terms of contrast, Michelangelo?s David is true to human form. In addition, Michelangelo was careful not to add too much contrast to David. This could explain why David is not wearing any clothing or shoes. Too much contrast would certainly diminish the physical beauty of man that Michelangelo wished to emphasize. From this viewpoint, it is easy to understand why Michelangelo utilized a very limited amount of contrast in his sculpture."
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The Alamo and Michelangelo, 2006.
This paper analyzes the architecture of The Alamo in San Antonio, Texas from Michelangelo's point of view.
1,458 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper critiques the building from the point of view of architect Michelangelo who is totally unrelated to the building's design. Written in the first person speech given by Michelangelo, he critiques the building according to his own architectural values and beliefs.
From the Paper
"Perhaps the thing that perplexes me most about this building is the scale. Walking up to it, it simply seems so small, much smaller than most people would imagine, I believe. It is dwarfed by many of the modern surrounding buildings, which adds to its diminutive status. I believe a building should be grand and impressive, and unfortunately, the Alamo is unassuming and could easily be overlooked. If I had a hand in renovation, I would add a grander fa?ade, perhaps less symmetrical but with more interesting and relevant details, such as more columns, and certainly a balustrade accessible for tourists to ascend to and view the surrounding plaza. I may seem too critical of what is obviously a very important American historical landmark. However, the building is not nearly as impressive as its' history to me, and I think it could be made much more memorable by adding a bit more style, color, and interest. I understand the phrase here in Texas is "Remember the Alamo." I however, will not carry its memory with me for long, as I feel it suffers from architectural apathy, rather than a real joyous interest in creating a unique and valuable monument to God - and to the architect who had a vision for detail and design."
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