By Angela K. Nickerson
From St. Peter’s Basilica to the Capitoline Hill, this detailed resource—part biography, half historical past, and half trip guide—provides an intimate portrait of the connection among Michelangelo and town he restored to creative greatness. Lavishly illustrated and richly informative, this go back and forth spouse tells the tale of Michelangelo’s meteoric upward push, his occupation marked by means of successive creative breakthroughs, his tempestuous family with robust consumers, and his austere yet passionate deepest existence. offering road maps that permit readers to navigate town and become aware of Rome as Michelangelo knew it, each one bankruptcy specializes in a specific paintings that surprised Michelangelo’s contemporaries and sleek travelers alike.
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Additional info for A Journey into Michelangelo's Rome (ArtPlace series)
Sacred Sculpture Sculpture as an art form went out of fashion with the rise of the early Christian church. The church founders considered the sculptures of the ancient Romans to be idols and demons, and the sculpting of freestanding forms eventually became taboo. Yet, human and animal figures persisted in church and domestic decoration in the form of relief and architectural elements. When, around 1440, the Florentine sculptor Donatello unveiled his David, a new artistic era began. Donatello’s bronze was not only the first freestanding figure of the Renaissance but also a nude.
D LLA RT ST I Palazzo del Quirinale I. VALL ARI NS UE TO V. S I CEL E V. B MA Riv II 1 L. DOVIS V. LU UE Piazza Navona M AN UELE TOR TO C ORS O er LI A GIU V I A LL O GA SAN e r Tib ITT OR IO E RO Piazza di Spagna L V. DE Santa Maria in Trastevere 1 PI V. CORSO D’ITALIA MPANIA V. CA I PAGN NCOM V. BO V. PIAVE MU V. D OV EL V. D ZI O CO RS O CO . L. D ACI V. DELLE FORN S. PI ETRO NE D I V. STAZIO Monte del Gianicolo UN V. DEL 2 NN er NE LL STE L. CA V. DELLA CONCILIAZIONE NO L. VATICA SIA AS D ’A Villa Borghese E NE r Riv E RO Castel Sant’Angelo G.
He also saw his civic works as a means to justify the money he made from banking, traditionally regarded as a sinful occupation. Michelangelo’s decision to leave Ghirlandaio’s workshop for the Medici Gardens could not have pleased his father, who saw his son leaving one questionable profession for another even more pedestrian. Sculpting was Florence: Michelangelo and the House of Medici dirty, physical, and exhausting work. Most sculptors were employed in creating decorative elements and architectural embellishments, a trade for commoners.
A Journey into Michelangelo's Rome (ArtPlace series) by Angela K. Nickerson