Michelangelo Antonioni's L'Eclise

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Michelangelo’s use of humanism in his art is what makes him great. In The Agony and the Ecstasy by Irving Stone it tells the story of Michelangelo, a Renaissance artist, becoming the great artist he is known as. Humanism, the ideal of putting men before God, was opposed by the church and Michelangelo decides to paint it in the church anyways. This is what makes him a great artist.

Italy boasts about how beautiful their paintings are, they have some of the most spectacular artists. When I hear the word Italy I think about a few artists such as Michelangelo, Leonardo Da Vinci, and Donatello.

Michelangelo was a sculptor, painter and architect considered to be one of the greatest artists of the Italian Renaissance period and of all time. His work showed a mix of psychological insight, physical realism and intensity that has never before seen. His peers realized his amazing talent, and Michelangelo received work from some of the most wealthy and powerful men of his day, including popes and others related with the Catholic Church. His resulting work, most greatly his Pietà and David sculptures and Sistine Chapel ceiling paintings, has been carefully tended and preserved, making sure that future generations would be able to view and appreciate Michelangelo’s genius. Michelangelo Buonarroti (Michelangelo di Lodovico Buonarroti Simoni) was born

“A man paints with his brains and not with his hands” –Michelangelo. This quotation is a powerful statement said by none other than Michelangelo Buonarroti – painter, architect, poet, sculptor and engineer. Born on March 6, 1475 in the small Italian village of Caprese near Florence. As he was apprenticed at age thirteen to Domenico Ghirlandaio and studied under early Renaissance masters, Lorenzo Ghiberti and Bertoldo di Givoanni, he developed his talents at a very young age. Not only was Michelangelo the most significant and skillful artist of the Renaissance period, his contributions such as his artistic works, his artistic techniques and his significance in art history allowed for him to have a lasting impact on the world.

Michelangelo was written by Diane Stanley. He is known for his famous quote “The true work of art is but a shadow of the divine perfection.” I chose Michelangelo because his art has always piqued my interest and his overall accomplishments amaze me.

Michelangelo di Lodovico Buonarroti Simoni, known as Michelangelo, was born in March 6, 1475, Caprese Michelangelo, Italy. His father`s name was Leonardo di Buonarroti Simoni and his mother`s name was Francesca Neri. Together they had five children, one of the son was Michelangelo and they returned to Florence when he was just an infant. Michelangelo lived almost all his life in Rome, where he died in 1564, with 88 years old.This important figure was an italian sculptor, painter, architect, poet, and engineer of the High Renaissance. Since his mother got sick, he was placed with a family of stonecutters. He was more interested about watching the painters nearby the church, and drawing what he saw there than with the school. Francesco Granacci

Michelangelo di Lodovico Buonarroti Simoni, was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance which left an unparalleled influence on the development of Western art. Two of his best-known works, the Pietà and David, were sculpted before the age of thirty. Although he had a low opinion of painting, Michelangelo also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. Heavily influenced by Lorenzo de’Medici who wished to revive the art of sculpture in the classical manner of the ancient Greeks and Romans. Classical art provided an inspiration and a standard of excellence that

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

In the early development of the Italian Renaissance sculptures became exceedingly popular, or favorable. Michelangelo and Leonardo differentiated the way sculptures were created and viewed. Artistically through paintings, Leonardo contributed new techniques, Massaccio contributed the one-point perspective, Rapahel clarified the form, Piero Della Francesca transformed art to me more realistic and life-like. Michelangelo, Leonardo, Massaccio, Raphael, and Piero Della Francesca all lead art to become more innovative throughout their own work.

When thinking about a triumph over an unimaginable feat, the story of David and Goliath comes to mind. During the Italian Renaissance, Florence was under constant change and turmoil however David remained a consistent symbol of endless possibilities for the people. “For the Florentines, David represented the essence of civic virtue-courage, fortitude, and faith” (Murray, 39). Various artists have revealed their own depictions of the young shepherd boy but two stand out among the masses. Donatello and Michelangelo both created masterpieces on the biblical subject although the approaches of each artist were completely diverse and caused unique reactions.

In 14th century, a young pious sculptor personally visited the quarries in the city of Carrara, Italy to select a marble that he could use for a commissioned work. Out of the many blocks of stones, he had his gaze fixed upon this enormous single block of marble; it was plain and had no distinction; but, he had a vision. So, he decided to bring it to his workshop all the way back in Rome. He walked around it, studying in different angles, scrutinizing every detail. He picked up his pencil and started drawing lines around this piece of stone. After thousands of strokes, he put the pencil down and looked around it one more time. It was ready. He picked up a sharp-edged metal stick, placed it against the stone and with hammer on his other hand, stroked with all his might– it was only the first of tens and thousands more blows, for two more years. When the chiseling was finally put to a halt, unveiled was what would have become one of the most famous and valuable contribution in the history of arts by the greatest leader of the Italian Renaissance period – Michelangelo’s “Pieta”.

Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.

It is when the artist begins to add nuances and harmonies to the melody that the work becomes inaccessible to the unlearned ear, thus isolating a portion of the audience. When works of art are created to express the universality of humankind they are more beneficial to it. As an example, this view is dissimilar to the view if Dante, who believed that the language of a work should be elevated. Tolstoy argues the more details that are given in the work the more opportunities for disconnection from its message the audience has (391).