pietà (michelangelo) description

6. The packaging created for the sculpture’s Atlantic crossing was designed to withstand a shipwreck. If the ship went down, the crate would float. If the statue partially sunk, a radio transmitter inside the crate would serve as a location device.
One must take these words of Vasari about the “divine beauty” of the work in the most literal sense, in order to understand the meaning of this composition. Michelangelo convinces both himself and us of the divine quality and the significance of these figures by means of earthly beauty, perfect by human standards and therefore divine. We are here face to face not only with pain as a condition of redemption, but rather with absolute beauty as one of its consequences.

Pietà (michelangelo) description
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin. [ when defined as? ] Michelangelo’s interpretation of the Pietà is unprecedented in Italian sculpture. [2] It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
Christ’s face does not reveal signs of the Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the “religious vision of abandonment and a serene face of the Son,” [5] [ better source needed ] thus the representation of the communion between man and God by the sanctification through Christ.

We can conclude from Michelangelo’s career that Pieta is amongst his finest works, with sculpture just one aspect of his overall portfolio of creative output. His reputation has grown so far that many will visit Italy from far afield in order to just see his majestic works in person.
Both young Michelangelo and his incredible sculpture became famous almost immediately after the Pieta’s completion as word of his sculpture spread. Everyone flocked to see his masterpiece, especially other artists who wanted to examine his work up close, in search of the smallest of flaws. One of Michelangelo’s biographers, Giorgio Vasari, summarised contemporary opinion of the Pieta stating, “It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.” The Pieta came to be regarded as one of the world’s greatest masterpieces of sculpture, “a revelation of all the potentialities and force of the art of sculpture”. In 1964, the Pieta was lent by the Vatican to the New York World’s Fair. People waited hours before finally being able to view the Pieta from a conveyor belt that passed by the sculpture. The Pieta was subsequently returned to the Vatican after the World’s Fair.

Pietà (michelangelo) description
During its diligent restoration, workers discovered a secret signature on the piece. Hidden in the folds of Mary’s left hand was a subtle “M” believed to stand for Michelangelo.
The feeling wasn’t exactly mutual at first. Freud considered the Surrealists “complete fools” and had little interest in avant garde art. But Dalí was determined to meet Freud. “My three voyages to Vienna were exactly like three drops of water which lacked the reflections to make them glitter,” the artist wrote in his autobiography. “On each of these voyages I did exactly the same things: in the morning I went to see the Vermeer in the Czernin Collection, and in the afternoon I did not go to visit Freud because I invariably learned he was out of town for reasons of health.” (Emphasis in the original.) Finally, Dalí set up an appointment to meet with the 82-year-old Freud in London in the summer of 1938. Dalí recounts that “we spoke little, but we devoured each other with our eyes.” This may have been less romantic than Dalí frames it; Freud had mouth cancer, and an artificial palate made it difficult for him to speak.

Pietà (michelangelo) description
Michael am Zollfeld
There were many pietas in German and French art because the theme of Mary cradling Jesus originated in this area. However Michelangelo’s Pieta is unique in that he mixed Gothic subject matter with Renaissance ideologies. Inspired by naturalism, Michelangelo still utilized classic beauty in his sculpture and that is why Mary has the youthful features of her younger self.



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