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last judgement michelangelo
last judgement michelangelo
michelangelos the last judgement give a misleading idea
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Description (1)
The painting is a frameless rectangular fresco on a wall with a sky-like blue background. It is a condensed dynamic composition of masculine human figures, each in different position. Some of those figures are dressed up and some of them are nude. There seem to be a lack in the sense of gravity because the figures are either flying or standing on clouds. In the center there are two figures, a man and a woman. The man is standing in a partially seated position, his right hand is raised up and he is looking to his left side, his left hand is pointing to a wound in his chest and he is partially covered in a grey piece of fabric. Under his raised arm sets a woman looking away from him to her right side. She is dressed in a pink and blue garment. A golden light-like background behind them that identifies them as the center of the scene depicted in the fresco.
A group of figures are standing in an arc-like arrangement around the center. They are sitting, standing or flying. Each of those figures has a serious expression and their gazes are all focused on the male center figure. The arc starts with a seated figure that is holding an object that looks like a ladder, followed by a group of standing figures one of them is wearing animal skin and another one is holding a big cross. Following the arch to the opposite side, a standing old-bearded man is holding two keys and it ends with another seated figure that is holding a knife in his right hand and a skin in his left hand. In this arc, all dressed up figures are wearing yellow, orange or green garments.
Description (2)
The Fresco depicts the second coming of Christ on the day of the last judgment. All human beings are awakened from their death to face the Judge, C...
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... Michelangelo Buonarroti, Teylers Museum, British Museum, & Ashmolean Museum. (2005). Michelangelo drawings: Closer to the master. New Haven, Conn: Yale University Press.
Connor, J. A. (2009). The last judgment: Michelangelo and the death of the renaissance. New York: Palgrave Macmillan
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Art, by definition, is “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings”. Throughout history, one way that art has been used is to reflect a multitude of ideas and beliefs. Christian beliefs and ideas have been portrayed in artwork since the beginning of Christianity, although, it was not always acceptable to do so. The idea of the final judgement is a Christian idea that has been displayed in art repeatedly in a variety of ways. Michelangelo’s fresco the Last Judgment (1536-1541) is a piece that visualizes this idea. Since the time it was finished, this significant piece found in the Sistine Chapel has been continuously critiqued and analyzed. Many Christians struggle to interpret the event of a final judgment after reading it through Scripture. In analyzing Michelangelo’s piece, it is similar difficult to determine what he exactly meant to portray and what the various part of his masterpiece represent exactly. Many have examined this piece and made different regarding what exactly the various figures and objects are supposed to represent. The diverse interpretations of this work further shows the idea that when Christian ideas are reflected through artwork, it is hard to ascertain exactly what an artist intended to demonstrate. In addition, the controversies surrounding this piece represent the idea that when Christian ideas are revealed through art, there is potential for disagreement regarding what should and should not be included in Christian art. Michelangelo’s Last Judgment is just an example of what results when Christianity is brought into art.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
2) Bailey, Gauvin A. Between Renaissance and Baroque: Jesuit art in Rome 1565-1610. University of Toronto Press. 2003.
The Last Judgment dealt with an especially evocative subject, and Michelangelo engaged viewers by creating highly imaginative scenes tempering fear with hope and by referring to contemporary events. The painting's original, elite audience--the papal court and a handful of distinguished lay persons--was sophisticated about art and poetry, almost exclusively male, and orthodox in its religious beliefs. That audience later broadened and included artists allowed into the Chapel to copy Michelangelo's work. These artists helped to create another, less sophisticated audience; one that knew the fresco only through reproductions and written descriptions. The response of this latter audience eventually prompted the church to censor the painting.
Vasari, Giorgio. Life of Michelangelo. [Translated by Gaston du C. de Vere.] (New York: St. Pauls, 2003), pp. 69-132.
Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art
Giorgio Vasari’s book The Lives of the Most Excellent Painters, Sculptors and Architects was written as a second edition in 1568. It is a collection of written accounts that Vasari thought were the best and most esteemed artists in the Renaissance, which specifically focuses on North Italian cities such as Florence and Milan. This primary source is a tool that gives the reader an understanding of the ways in which Italian Renaissance artists lived their lives. The Lives is also important because it is considered the first book to focus on art history. Barolsky states that Vasari’s Lives is “a foundational text in the history of art history” (Barolsky 33). Vasari, in many ways paved the way as an art historian for others in the future by writing
Leonardo’s version of the Last Supper was painted El fresco depicting the scene passively without emotion. The work has the supper table horizontal across the lower third and Jesus and his twelve disciples dining behind it, before a backdrop of both man made structure and natural landscape. The artwork is un-cluttered and simple. The lighting is subtle and non-dramatic. Colour is conservative and dull this is partly due to the limited paint available and the technique and decay of fresco painting. The wor...
The Fragment of a Fresco is a piece that is perfectly balanced with equal proportions divided directly in the center. It is an illusionary view shown through two panels that appear as green tinted glass. Within these panels are scenes of the world outside as if looking through a window. Looking into the left panel, one can see a square temple with ornamental sculpture surrounding the roof. An intricately designed columned porch runs deep alongside the temple. In front of the temple at the base of the panel, is a group of men or boys displaying gestures of joy and happiness. The right panel is filled with a cluster of various buildings including a round temple. The depicted buildings display a view of the elevation and complexity of the design of the city. The buildings are painted using an elaborately layered style that utilizes shadows to show the depth of the city. The upper portions of both panels have faded to the point that the scenes are completely obscured. Directly surrounding both panels is a red border that is plain and non-decorative. Dividing the fresco into the two individ...
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
The Last Judgement by Michelangelo is the most preeminent representation of Italian Renaissance fine art, and undoubtedly the most valuable piece of the era. Characteristics of Italian Renaissance artwork are present throughout the painting. Realism, perspective, individualism, light & shadowing and are the most prominent qualities of this painting. Particularly, realism is expressed through the nudity of the people displayed in the painting, not every person’s body is perfect, ideally many bodies have flaws. Realism and expression are shown when “the proportions of his figures grew… more menacing… [and] seething with nudity” (1). The people behind the altar of the Chapel were naked with indecent expressions, displaying individual