|
원본 Image는 http://blog.daum.net/freeflow/9607014
Ceiling of the Sistine Chapel(vatican)-1508~12
Ceiling of the Sistine Chapel bay1.jpg
Ceiling of the Sistine Chapel bay4.
Ceiling of the Sistine Chapel bay9
Ceiling of the Sistine Chapel, detail1.
Ceiling of the Sistine Chapel, detail2.
Ceiling of the Sistine Chapel, detail3.
Ceiling of the Sistine chapel, Genesis,
Noah 7~9, the flood left view.
Ceiling of the Sistine chapel, Genesis,
Noah 7~9, the flood right view
Ceiling of the sistine chapel, Genesis, the creation of Adam's face
Ceiling of the sistine chapel, Genesis,
the fall & expulsion from paradise, Original
Ceiling of the Sistine Chapel, Genesis,
the fall & expulsion from paradise
Ceiling of the Sistine Chapel, Ignudi,
next to separation of land & the persian sybils 2.
Ceiling of the Sistine Chapel, Ignudi,
next to separation of land & the persian sybils
Ceiling of the Sistine Chapel, Sybils, Erithraea
Michelangelo
Timeline: The High Renaissance
In full MICHELANGELO DI LODOVICO BUONARROTI SIMONI (b. March 6, 1475, Caprese,
Republic of Florence [Italy]--d. Feb. 18, 1564, Rome), Italian Renaissance
sculptor, painter, architect, and poet who exerted an unparalleled influence on
the development of Western art.
I cannot live under pressures from patrons, let alone paint.
-- Michelangelo, quoted in Vasari's Lives of the Artists
David
Gigantic marble, started in 1501 and completed in 1504
Michelangelo began work on the colossal figure of David in 1501, and by 1504 the
sculpture (standing at 4.34m/14 ft 3 in tall) was in place outside the Palazzo
Vecchio. The choice of David was supposed to reflect the power and determination
of Republican Florence and was under constant attack from supporters of the
usurped Medicis. In the 19th century the statue was moved to the Accademia.
Michelangelo: a dominant force in Florence and Rome
Michelangelo Buonarroti (1475-1564) exerted enormous influence. He, too, was
universally acknowledged as a supreme artist in his own lifetime, but again, his
followers all too often present us with only the master's outward manner, his
muscularity and gigantic grandeur; they miss the inspiration. Sebastiano del
Piombo (c.1485-1547), for example, actually used a drawing (at least a sketch)
made for him by Michelangelo for his masterwork, The Raising of Lazarus.
Masterwork it is; yet how melodramatic it appears if compared with
Michelangelo's own painting.
Michelangelo resisted the paintbrush, vowing with his characteristic vehemence
that his sole tool was the chisel. As a well-born Florentine, a member of the
minor aristocracy, he was temperamentally resistant to coercion at any time.
Only the power of the pope, tyranical by position and by nature, forced him to
the Sistine and the reluctant achievement of the world's greatest single fresco.
His contemporaries spoke about his terribilit? which means, of course, not so
much being terrible as being awesome. There has never been a more literally
awesome artist than Michelangelo: awesome in the scope of his imagination,
awesome in his awareness of the significance--the spiritual significance--of
beauty. Beauty was to him divine, one of the ways God communicated Himself to
humanity.
Like Leonardo, Michelangelo too had a good Florentine teacher, the delightful
Domenico Ghirlandaio (c.1448-94). Later, he was to claim that he never had a
teacher, and figuratively, this is a meaningful enough statement. However, his
handling of the claw chisel does reveal his debt to Ghirlandaio's early
influence, and this is evident in the cross-hatching of Michelangelo's
drawings--a technique he undoubtedly learned from his master. The gentle
accomplishments of a work like The Birth of John the Baptist bear not the
slightest resemblance to the huge intelligence of an early work of
Michelangelo's like The Holy Family, also known as the Doni Tondo. This is
somehow not an attractive picture with its chilly, remote beauty, but its stark
power stays in the mind when more acessible paintings have been forgotten.
The Sistine Chapel
All the same, it is the Sistine ceiling that displays Michelangelo at the full
stretch of his majesty. Recent cleaning and restoration have exposed this
astonishing work in the original vigour of its color. The sublime forms, surging
with desperate energy, tremendous with vitality, have always been recognized as
uniquely grand. Now these splendid shapes are seen to be intensely alive in
their color, indeed shockingly so for those who liked them in their previous dim
grandeur.
The story of the Creation that the ceiling spells out is far from simple, partly
because Michelangelo was an exceedingly complicated man, partly because he
dwells here on profundities of theology that most people need to have spelt out
for them, and partly because he has balanced his biblical themes and events with
giant ignudi, naked youths of superhuman grace. They express a truth with
surpassing strength, yet we do not clearly see what this truth actually is. The
meaning of the ignudi is a personal one: it cannot be verbalized or indeed
theologized, but it is experienced with the utmost force.
Detail of the Sistine Chapel, appearing over the head of the Prophet Jeremiah
Michelangelo painted the ceiling of the Sistine Chapel from 1508 to 1512,
commissioned by Pope Julius II. On becoming pope in 1503, Julius II reasserted
papal authority over the Roman barons and successfully backed the restauration
of the Medici in Florence. He was a liberal patron of the arts, commissioning
Bramante to build St Peter's Church, Michelangelo to paint the Sistine Chapel,
and Raphael to decorate the Vatican apartments.
Seers and prophets
There is the same power, though in more comprehensible form, in the great
prophets and seers that sit in solemn niches below the naked athletes. Sibyls
were the oracles of Greece and Rome. One of the most famous was the Sibyl of
Cumae, who, in the Aeneid, gives guidance to Aeneas on his journey to the
underworld. Michelangelo was a heavyweight intellectual and poet, a profoundly
educated man and a man of utmost faith; his vision of God was of a deity all
``fire and ice'', terrible, august in His severe purity. The prophets and the
seers who are called by divine vocation to look upon the hidden countenance of
God have an appropriate largeness of spirit. They are all persons without
chitchat in them.
Sybille de Cummes
ceiling of the Sistine Chapel in Vatican City
Sibyls were female seers of ancient Greece and Rome. They were also known as
oracles. Like the Jewish prophets of the Old Testament, many sibyls had their
sayings recorded in books. Jewish prophets spoke unbidden, whereas sibyls tended
to speak only if consulted on specific questions. They sometimes answered in
riddles or rhetorical questions.
The Erythraean Sibyl leans forward, lost in her book. The artist makes no
attempt to show any of the sibyls in appropriate historical garb, or to recall
the legends told of them by the classical authors. His interest lies in their
symbolic value for humanity, proof that they have always been the spiritual
enlightened ones, removed from the sad confusion of blind time.
The fact that the sibyls originated in a myth, and one dead to his heart (which
longed for Christian orthodoxy) only heightens the drama. At some level we all
resent the vulnerability of our condition, and if only in image, not reality, we
take deep comfort in these godlike human figures. Some of the sibylline seers
are shown as aged, bent, alarmed by their prophetic insight.
The implicit sense of God's majesty (rather than His fatherhood) is made
explicit in the most alarming Last Judgement known to us. Is is Michelangelo's
final condemnation of a world he saw as irredeemably corrupt, a verdict
essentially heretical, though at that time is was thought profoundly orthodox.
His judging Christ is a great, vengeful Apollo, and the power in this terrible
painting comes from the artist's tragic despairs. He paints himself into the
judgement, not as an integral person, but as a flayed skin, an empty envelope of
dead surface, drained of his personhood by artistic pressure. The only
consolation, when even the Virgin shrinks from this thunderous colossus, is that
the skin belongs to St Bartholomew, and through this martyr's promise of
salvation we understand that perhaps, though flayed alive, the artist is
miraculously saved.
As grandly impassive as the Erythraean Sibyl is the heroic Adam in The Creation
of Adam, lifting his languid hand to his Creator, indifferent to the coming
agonies of being alive.
George Frideric Handel (1685∼1759)
Hallelujah
|
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)