Download A Journey into Michelangelo's Rome (ArtPlace series) by Angela K. Nickerson PDF

By Angela K. Nickerson

From St. Peter’s Basilica to the Capitoline Hill, this specified resource—part biography, half historical past, and half commute guide—provides an intimate portrait of the connection among Michelangelo and the town he restored to creative greatness. Lavishly illustrated and richly informative, this commute spouse tells the tale of Michelangelo’s meteoric upward thrust, his occupation marked by way of successive inventive breakthroughs, his tempestuous kin with strong consumers, and his austere yet passionate deepest lifestyles. offering road maps that let readers to navigate town and detect Rome as Michelangelo knew it, each one bankruptcy makes a speciality of a selected paintings that surprised Michelangelo’s contemporaries and sleek travelers alike.

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Extra info for A Journey into Michelangelo's Rome (ArtPlace series)

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In his later years, though, Michelangelo had to give up dissection. Much to his chagrin, the stench of a decaying corpse made him ill. The God of Wine Bacchus, Michelangelo’s first work created in Rome, depicts the Roman god of wine. Bacchus (known to the Greeks as Dionysus) taught humankind how to cultivate grapes and make wine, and was—appropriately enough—the god of merriment and revelry. The great dramas of the ancient world were performed in honor of Bacchus. During the Renaissance, Romans drank wine at every meal.

Michelangelo’s apprenticeship with Ghirlandaio did not last the three years intended. He soon captured the attention of Lorenzo de’ Medici—with a forgery. Michelangelo carved a small faun, imitating an antiquity, which caught Lorenzo’s eye. Jokingly, Forgery That Michelangelo was involved in forging antiquities was not remarkable. The fever for antiquities among the art-loving public created a market for forgeries, and most Renaissance sculptors committed forgery to pay the bills, at least until they established their own reputations.

He did not wear safety glasses. The hammers and chisels and stones were heavy and bulky and sharp. Sculpting was bruising, sweaty work—but it was also inspiring for Michelangelo, who not only wrote poems about sculpting but also while sculpting. To light his workshop, Michelangelo spent money on expensive candles made of pure goat’s tallow. He often worked into the night, carving and polishing in the candles’ golden glow. He constructed a “helmet made of pasteboard holding a burning candle over the middle of Rome: Marvels in Marble his head which shed light where he was working without tying up his hands,” a biographer noted.

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