PITY THE 'OF MICHELANGELO: STUDY FOR THE PORTRAIT OF LADY Cinzia Defendi. SUBLIME!
The Pieta is the most admired of all, in the Basilica of St. Peter, who is also one of the greatest "packages" of works of art of all the earth.
I LOOK WONDERFUL DETAILS!
COSI 'HO PAINTING PORTRAIT OF A LADY ON PORCELAIN IN SQUARE Shaders:
click to enlarge!
REFLECTIONS AND CONSIDERATIONS AROUND THE FACE OF OUR LADY OF 'MERCY' "
-you note: the Virgin's head lowered his eyes and turns to the public.
-face does not express pain or suffering ... But resignation is not destroyed by the pain but seems aware, fully conscious of the fulfillment of a destiny inevitable and announced.
-perfection of the pose and facial review of the Virgin expresses the overcoming of earthly features and achieve the beauty ideal (remember that she knew for some time that His Son had to die to rise again) and then experienced a pain for some time.
-the fact that Madonna has a very young face has caused no little stir at the time and left room for different interpretations, one of which is suggested by the words of Michelangelo himself to his biographer Ascanio Condivi: "The purity, sanctity and incorruptibility preserve the youth."
-looking extreme youth of the mother, in comparison to his son, one might think that Michelangelo, stressing the chastity of her, would symbolize her purity, with its eternal youth.
-only volumes or it may be an act of extreme devotion to the Virgin Mary, Mother of God, which Michelangelo offers you having to enhance it in a work: to portray the Mother of God Beautiful, young and resigned in his immense love, also remove the ugliness of a face torn by pain and suffering of a mother who loses a child.
The perfection of the Virgin's face led me to study the case painting on porcelain in technical Square Shaders caressing the features that the Grand Master decided.
do not know if I get the idea with the words, but they are fragile and fleeting thoughts that were racing in the mind of every artist ... considerations that are important to achieve the maximum in creating works ....
AND TIME INFORMATION ABOUT WORKS:
Michelangelo, at age 22, he created a marble Pietà for the church of Santa Petronilla in Rome, commissioned by the French cardinal Jean de Bilhères Lagraulas.
created it between 1498 and 1499, but seems to have gotten the marble (Carrara) as early as 1497.
The sculpture is 174 cm high, 195 cm wide and 69 cm deep. In fact, this lack of depth tells us that this sculpture is meant to be viewed from the front, because if you look you will notice that one side is crushed, compressed, even just moving a little from the center are lost details (such as the definition of the muscles, the draperies, etc.). important.
The dynamism and graceful lines, the yield of the plastic body shapes and folds of fabric, make a sculpture of the masterpieces of Michelangelo's genius.
The figure shows the Madonna holding the child on his knee just down from the cross. Maria in this institution is "the archetype of the woman who is the creator of life and all the guardian of death" (C. de Tolnay).
The Virgin chief lowered his eyes and turns to the public, it holds the child with the right hand under his arm let go, in Jesus' hands are clearly visible, the holes of the cross.
piety does not narrate the mother's pain, does not show the agony of the tortured body of Christ: the one and the other, life and death come together to reach "perfection" of God. This explains that the pyramidal shape, the width of the base ascending spiral, leading to the summit, then the unit, the head of the Virgin.
relatively small thickness, the width and height, it means that the viewer is forced to perceive the group as a relief statue bore to an ideal level of the fund. The point of view of Michelangelo, is always, therefore, only one: the front.
abundant folds of her dress, are designed to make it clear, by contrast, the beauty, the elegance of the naked body of Alexandria, and to make sense of enveloping the whole composition. This large drapery of the Madonna is in contrast with the body of Jesus polished perfection of this resignation and the face of the Virgin expresses the overcoming of earthly features and the achievement of ideal beauty.
So, to those who did observe the extreme youth of the mother, in comparison to his son, Michelangelo could say that he wanted to make her chastity. In the Pieta there is not hedonism, that is, if you enjoyed the beauty for herself, instead there is the deeper meaning of Neoplatonism and of the Florentine classicism: the idea is fully expressed, the forms are so totally over.
The extreme smoothness of the marble surface gives a unique camouflage effect, compared by Vasari to a miracle.
The two main characters (Christ and the Virgin) are extremely smooth, unlike the base, which turns out to be rather coarsely sculptured. It is doubtful whether Michelangelo left the stand outlined by his will or not, but the most accepted theory is that he did it on purpose, to enhance even further divinity of Christ and holiness of the Virgin Mary, and mark a clear division between humanity (earthly) and divinity.
The body of Jesus, beautifully carved in polished marble, it is so soft and flowing do understand that it is just dead, almost still permeated by the blood in our veins, as a last fleeting breath of life, the position of the arms and legs fully expresses this concept of ideal transition. The body is healed by the punishment immediately, as if his wounds were miraculously riemarginate to celebrate a new birth within. Only a scratch on pettosolo some insignificant wound on the legs, as if to resize the cruelty of the atrocities suffered by tracing it back in a broader thought of redemption and resurrection, a concept of intellectual humanism positive and sacredly solemn.
The face of Christ is like the body, beautiful and relaxed, so they seem asleep, is serene. He has forgiven. He has made the destiny for which he has lived all his life.
Maria does not look the face of the child or his lifeless body. Mary looks down and looks inside of himself, thinking perhaps to their lives.
pyramidal structure is visible, with the robe of the Mother that widens at the base and the legs to better harmonize it with the horizontal body of Christ. The junction of the verticality of the Madonna and child is the horizontal given by the drapery which allows the passage of fluid and harmonized, it is a sinuous drapery, flowing with translucent effects. The dress
abundant and the shroud helps to provide a strong platform to the sculptural.
Their position incorporates the iconography of Northern Pietà (ie firstly adopted by the Flemish artists), providing for the elderly with Madonna in her womb the Son, but by changing them, the Michelangelo is very young, almost more of his son, to symbolize its purity, its eternal youth.
It is said that Michelangelo did not have a good character, so when the Pieta was exposed to the public, mingled among the crowd to hear comments. There were many voices, is that the statue was kind of old (in fact, Michelangelo was a great forger of ancient statues of the classical world), is a work that was Nordic, but not praised his work. So the author, annoyed by the voices, he decided to sign along the belt that holds her dress ("Angelus Bonarotus Florentinus faciebat). It is the only work signed by Michelangelo.
The Pieta is finely polished and perfect in form in the peaceful expression of his harvest pain. It is painful composed, intimate, expressed by the sweet face of the Virgin, which indicates together with compassion for her dead son's resignation to the divine will. It is the only work signed by Michelangelo, signature witnessing the happiness for their success with hard work and loving the feeling of being the first sculptor of Rome (and the world). The "youth" of the face of the Virgin towards the maturity of the child has a theological explanation dell'immacolatezza as a symbol of the Mother of God is not corrupted by any sin.
Other interpretations
can be recognized on the right hand of the Virgin Mary that appears to show his son dead at present. The Madonnas
generally depicted by Michelangelo lack of a smile and natural tenderness for his son. They face a serious, thoughtful and silent. Maybe this is due to the fact that the artist, left motherless at a young age, has suffered greatly.
Michelangelo Buonarroti was born March 6, 1475 in Caprese in Casentino, the second of five children, was given over to the wife of a stonemason Settignano. His mother Frances died in 1481. His father soon remarried and resumed Ludovico's son to 11 anni.La early death of his mother perhaps contributed to the formation of its seriousness and melancholy and his way of depicting the Madonna with no maternal tenderness towards the child Jesus, that he did not tender had been able to experience in his childhood. In his Madonnas in fact the mother has a serious face, brooding and silent (as in pity) does not establish a loving relationship with his son, lacks any hint of a smile, his eyes are distant and far away.
Michelangelo also not meant to represent the scene in order to narrate an incident (the death of Christ), but is mainly interested in the symbolic aspect of all: Mary is depicted as a young man when he conceived Christ, and the demonstrative gesture of the hand the left seems to tell the faithful that what he had expected (the death of his son) has come true.
The theme should be interpreted in a theological one. Christ is not only the dead son of a mother who covers torn, but the Eucharistic body that is offered to the faithful during the Mass: firm and the monumental figure of Mary is
the Church and his knees are the altar where the sacrifice is accomplished. On the body of Christ, from the classic beauty, there is no trace of the suffering: this information, along with the delicate features of the Mother, are not those of a woman
now getting on in years (his perennial youth is that of the Church that continually renews itself) seem to refer to a timeless dimension, in which eternally repeated death and resurrection of Christ, which have been the instrument of man's salvation.
"consecrated the famous La Pietà by Michelangelo, but imposes no rival on the Italian art scene. [...]
The Pieta is the most admired of all, in St. Peter's Basilica, which is also one of the largest containers of works of art of all the earth.
