Michelangelo : the Medici Chapel
著者
書誌事項
Michelangelo : the Medici Chapel
Thames and Hudson, 1994
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references
内容説明・目次
内容説明
When Michelangelo left Florence for Rome in 1534, the Medici tombs were unfinished, but there was no question of another sculptor being brought in to complete them. They were already icons of artistic perfection, which it would be sacrilege for anyone else to touch. That eminence they retain to this day. The two seated Medici Dukes and the reclining figures of Night, Day, Dawn and Dusk are among the most famous sculptures in the world, endlessly copied and universally recognisable. Yet however familiar these images are, this collection of photographs by one of Italy's leading photographers of sculpture allows us to view these works of art in detail. It is now possible to actually imagine Michelangelo's chisel at work, and to marvel afresh at the sheer physical power that made him almost superhuman for his contemporaries. Bruno Santi, Director of the Medici Chapel from 1982 to 1992, and the art historians James Beck and Antonio Paolucci provide the historical background to the Chapel, essentially the Medici's family mausoleum, and explain how the concept changed over the 15 years Michelangelo worked on it.
Originally envisaged as commemorative for members of the family, it was eventually confined to only two - who would now be forgotten but for their monuments. They make the little building that contains them as important in the history of Mannerist architecture as the figures are in the history of sculpture: indeed, no other location, not even the Sistine Chapel, captures the essence of Michelangelo's genius so intensely.
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