Today we started by discussing Michelangelo and the Awakening Prisoner\/ Dying Slave. Here Michelangelo is embodying the ideal artist through architecture and neo-platonism. This led us into Michelangelo’s Pieta, Marble. He was called into Rome from 1496-1501 and receives commission. Compared to Roettgen’s Pieta, where Mary appears uglier as we see an expression of pain, Mary appears younger and calm. The marble is polished and waxed for the shiny finish which gives Mary this young appearance as her face is smooth. As we transitioned to Late Michelangelo and mannerism we see a particular transition from the High Renaissance. This led to what I found most intriguing of this chapter, the Sistine Chapel Ceiling. In the Sistine Chapel, the Cardinals meet to eect the new pope inside through conclave\/ con chiave. As for the ceiling, there is 3 segments\/layers. The first is Sub gratia which is under the grave. The second being Sub leye which is under the law and the Old Testament. And the third is the Ante leye which means before the law. One layer consists of the prophets which were people in a way that announced Christ. We also see female equivalents who were likely sybils and oracles. Furthermore, we see the Ignudi which we have no idea who they are. But it these figures are particularly unique as they are in contorted poses, and they appear effortless. We then see scenes of all sorts from the bible. And the most famous being the Creation of Adam. A unique thing is that the Sistine Chapel ceiling was very dirty and because Michaelngelo did not really know what he was doing there were cracks throughout the work. As a result a varnesh was painted over it all to secure it.<\/p>\n\n\n\n
Towards the end of the discussion we began to talk about the different forms of Maniera. We discussed 4 different types, Maniera Vasari-mannerism, Greca-Italo Byzantine style, Vecchia-Giotto, and Moderna or Bella Maniera-Leonardo. There was emphasis on the decorative element, no general harmony, elongation of forms, angular and flowing lines, and abstraction of the drawing, the color and the form.<\/p>\n","protected":false},"excerpt":{"rendered":"
Today we started by discussing Michelangelo and the Awakening Prisoner\/ Dying Slave. Here Michelangelo is embodying the ideal artist through architecture and neo-platonism. This led us into Michelangelo’s Pieta, Marble. He was called into Rome from 1496-1501 and receives commission. Compared to Roettgen’s Pieta, where Mary appears uglier as we see an expression of pain, […]<\/p>\n","protected":false},"author":19058,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1928"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/19058"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=1928"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1928\/revisions"}],"predecessor-version":[{"id":1933,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1928\/revisions\/1933"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=1928"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=1928"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=1928"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}