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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, £ 42.95
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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's Sistine Chapel Ceiling, 2000.
Analysis of the symbolism in and influences on Michelangelo's painting of the Sistine Chapel.
1,097 words (approx. 4.4 pages), 3 sources, MLA, £ 26.95
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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."
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Michelangelo Sistine Chapel, 1994.
Historical context of chapel frescoes, spiritual & cultural significance, style, theory and relationship with Pope Julius II.
2,025 words (approx. 8.1 pages), 7 sources, £ 49.95
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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.."
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The Sistine Chapel, 2004.
A paper discussing Michelangelo's Sistine Chapel paintings.
1,125 words (approx. 4.5 pages), 3 sources, MLA, £ 27.95
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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..."
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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, £ 41.95
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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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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, £ 36.95
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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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Religion in Michelangelo's Art, 2001.
An analysis of the religious significance in Michelangelo's art work specifically related to the Sistine Chapel.
1,100 words (approx. 4.4 pages), 4 sources, MLA, £ 26.95
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Abstract
The paper begins with a general overview of the meaning of religion in Michelangelo's art and then moves its focus to the panel of the Drunkenness of Noah. It explains the basic story that this piece hopes to capture and compares how this Biblical story differs in a way to what is portrayed in the picture.
From the Paper
"Michelangelo?s frescoes for the ceiling of the Sistine Chapel are regarded by nearly all art historians as being amongst the most significant ? and most lovely -- of all works of art created in the West since the beginning of the Christian era. It is no doubt because of their artistic importance that it is easy to overlook their religious significance, for while the religions stories that Michelangelo gave vision to are well known and in no way original to the artist, the images were overwhelmingly original. We cannot fail to be impressed by their beauty when we look at them and so we may forget to see what is actually contained in them."
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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, £ 51.95
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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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Hellenic Tombs, 2005.
A discussion of the tombs of ancient Greece.
4,770 words (approx. 19.1 pages), 23 sources, APA, £ 84.95
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Abstract
This paper attempts an overview and discussion of some of the most pertinent aspects of Hellenistic tombs. The paper focuses on their architectural significance, as well as on the related architectural and historical connotation and implications of these tombs. One of the aspects that the paper focuses are the antecedents of Hellenic forms of architecture, their forms design and meaning.
Outline
Introduction
Historical and Architectural Overview
Mycenaean Tombs
Hellenic Tombs
Conclusion
From the Paper
"One of the ways in which the art, history and architecture of ancient cultures can be understood and investigated is through what is left behind to be examined. Some of the most permanent artifacts that are available for examination are ancient tombs which have stood the test to time. From these tombs one can not only understand and form opinions of the architecture and historical context of the time, but the content of many tombs reveals a plethora of information and insight into the culture being studied. Many experts concur with this view and emphasize the archelogivla significance of ancient tombs, monuments and burial sites."
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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, £ 36.95
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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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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, £ 45.95
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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 and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, £ 27.95
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Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
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Michelangelo's "Pieta" and Bernini's "Saint Teresa", 2006.
An exploration of the similarities and differences in Michelangelo's "Pieta" and Bernini's "Ecstasy of Saint Teresa."
1,107 words (approx. 4.4 pages), 5 sources, MLA, £ 26.95
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Abstract
This paper compares one of the greatest works of renaissance art, Michelangelo's "Pieta," with a superb example of the complexity of baroque art, Bernini's "Saint Teresa in Ecstasy." The writer explains the Neo-Platonist and humanist influences on Michelangelo and his "Pieta," and describes the sculpture in its moving simplicity in detail. The writer then explains how Bernini's statue combines the baroque emotion with counter-reformation mysticism. The paper concludes that both Michelangelo and Bernini were masters of their craft, bringing life to cold marble and bronze, with different styles of expressing their veneration for God.
From the Paper
"However, apart from earlier religious works, Michelangelo's sculpture had an unmistakable air of humanism. A recurring theme in renaissance art, humanism was fueled by a renewed interest in the individual, under the idea that humanity is a miracle, and you glorified god by portraying his creations in a beautiful manner. This led to much more realistic depictions of the world, the figures of medieval art becoming more three-dimensional, and less homogeneous. The Pieta is an excellent example of this new way of viewing the world, as it was wholly life-sized, and made to be viewed in the round, all sides available to be seen."
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Medici Family, 2007.
An analysis of the power of the Medici family in Italy.
820 words (approx. 3.3 pages), 5 sources, MLA, £ 20.95
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Abstract
This paper discusses the Medici family in Italy. It describes the Florentine Quattrocento century and discusses the influence that the Medici's had, particularly in the realm of civic humanism. It describes the focus of their rule and how they were accepted by the people. The paper then describes the changes in power of the Medici family over time.
From the Paper
"With such views it is clear why Cosimo gained political power and importance in Florence. If Cosimo's reign was fraught with incidents of largesse, he had enough power and wealth to justify it. He was a prominent man with political connections with powerful people like princes and popes. Cosimo was also the head of Medici bank and during the Quattrocento personal wealth could be easily used to justify power. Such a thing would have not been possible in Trecento. Medici family had gained people's support by lending money and patronage to relatively unknown families with little or no political connection. These families would then become dependent on Medicis and thus supported them. (Kent, 28)"
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