Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo's art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist's formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan…mehr
Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo's art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist's formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace.
Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. HallHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Brill's Studies on Art, Art History, and Intellectual History 254/14
Tamara Smithers, Ph.D. (2012), Temple University, is Associate Professor of Art History at Austin Peay State University. She has given numerous talks on Michelangelo and other Italian Renaissance topics at international conferences, universities, and museums and has recently published an essay on Michelangelo's use of the Giant Order at the Campidoglio in Rome (2013)
Inhaltsangabe
Foreword: Why More Michelangelo? William E. Wallace
Acknowledgements
Illustrations
Contributors
Abstracts
Introduction: Michelangelo in the New Millennium Tamara Smithers
Part 1: Artistic Mobility
Chapter 1: Site-Specificity Joost Keizer
Chapter 2: Michelangelo's Strozzi Tondo?: Securing Status with Art Eric R. Hupe
Part 2: Syncretic Seers
Chapter 3: The Pitti Tondo: A "Sibylline" Madonna Emily Fenichel
Chapter 4: Christ-Bearers and Seers of the Period Ante Legem: On the Male Nudes in Michelangelo's Doni Tondo and Sistine Ceiling Frescoes Jonathan Kline
Part 3: Papal Patronage: The Pauls
Chapter 5: Virtuous Prelates, Burdensome Relics and a Sliver of Gold in the Last Judgment Erin Sutherland Minter
Chapter 6: Michelangelo the "Lefty": The Cappella Paolina, the Expulsion Drawings, and Marcello Venusti Margaret Kuntz
Coda: Michelangelo's Suicidal Stone Tamara Smithers
Epilogue: Twenty-first Century Versus Twentieth Century Methodologies Marcia B. Hall
Foreword: Why More Michelangelo? William E. Wallace
Acknowledgements
Illustrations
Contributors
Abstracts
Introduction: Michelangelo in the New Millennium Tamara Smithers
Part 1: Artistic Mobility
Chapter 1: Site-Specificity Joost Keizer
Chapter 2: Michelangelo's Strozzi Tondo?: Securing Status with Art Eric R. Hupe
Part 2: Syncretic Seers
Chapter 3: The Pitti Tondo: A "Sibylline" Madonna Emily Fenichel
Chapter 4: Christ-Bearers and Seers of the Period Ante Legem: On the Male Nudes in Michelangelo's Doni Tondo and Sistine Ceiling Frescoes Jonathan Kline
Part 3: Papal Patronage: The Pauls
Chapter 5: Virtuous Prelates, Burdensome Relics and a Sliver of Gold in the Last Judgment Erin Sutherland Minter
Chapter 6: Michelangelo the "Lefty": The Cappella Paolina, the Expulsion Drawings, and Marcello Venusti Margaret Kuntz
Coda: Michelangelo's Suicidal Stone Tamara Smithers
Epilogue: Twenty-first Century Versus Twentieth Century Methodologies Marcia B. Hall
Index
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