Alzofon Art Institute
Michelangelo, Medici Chapel & Accademia
Transcript from notebook
"Medici Chapel --
Sick, but there I was. The point of these studies was to examine the
flow across features, the integration of clothing with pose -- the shapes.
"The heads and hands of some of the male figures were 'unfinished'
so you could examine the 'hatching' chisel marks. In the male figures, the
finish of the marble softly revealed last traces of this hatch. The females
were hard polished.
"Michelangelo's work DOES stand out, even among great art. Donatello's
lovely David and Giambologna's Mercury are a sight to behold -- totally
captivating, alluring, seductive. But, while Michelangelo's works don't
do this at all, they demonstrate a complex simplicity executed in perfect
creation -- certainty -- it carries across.
"At any view, the flow from part to part is there. The extremeness
of pose does not overtake the unity of form, as other artists' works do
so often. The relationships are continuous, unbroken. Not that there isn't
variety. There is great variety -- multi-layered variety. But as outrageous
as the concepts get (and they DO get outrageous), there is unity. The undercurrent
of design is there.
"Went to the Accademia where Michelangelo's David is. David
is impressive by scale. It is delicately featured and a fine work in balance
and simplicity. The size is what makes it great.
"The unfinished carvings (also at the Accademia) of course, reveal
something of his approach. The features seem to begin developing while the
whole is much too wide. He must have slowly recut the features until right."
First Day in Rome,
or...Travel Is a Painful Ordeal
Leonardo da Vinci
Bouguereau at the Haggin
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This site last updated: May 15, 1996