Download Mysterium Magnum: Michelangelo's Tondo Doni by Regina Stefaniak PDF

By Regina Stefaniak

This publication offers the "Tondo Doni" as a version of "Ephesians'" 'great sacrament' of marriage for the hot Florentine republic. Following 15th century theology, Michelangelo portrayed Mary as a humble spouse ruled and possessed through a virile dad or mum Joseph, the couple united as though 'two in a single flesh'. To catch up on their symbolic propinquity, he solid her as a paragon of virginity, a muscular mulier fortis. that allows you to maintain this virago in her position, Michelangelo coupled the Virgin in religious union with Christ, maenad-Psyche to bacchic Eros, trying to mystify her social subordination through Ficinian observation and Saint Paul into self-sacrificing love. Then, firing the Doni infant's vehemence with a fairly violent pressure of Christian divine love, the painter became to Dante's rime petrose to proceed the implied motion and at the same time authorize a brand new painterly sort, a sculptural stile aspro.

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Additional info for Mysterium Magnum: Michelangelo's Tondo Doni

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That republican impetus must have been shadowed by a societal concern that Florentine men had gone soft. When the Judith was still a Medicean possession she monumentalized Florentine vigilance against the threat of an external tyrant (or at least one representing only a faction within the body politic). Locked into the orthogonal geometry of the square, her sword arm was raised to strike a second cut. Once the bronze was taken over and rededicated by the Signoria, Florence triumphed over the former Medicean tyrant, but the spirit of drunken revelry which had caught the Abyssinian troops off guard now projected an unfortuthe other sources).

He was not even a religiousminded man... Michelangelo, on the other hand, was a profoundly religious man, to whom the reform of the Roman Church came to be a matter of passionate concern. ” Clark viewed Leonardo’s remarks about the demeaning, dusty physical labour of the sculptor [Trattato § 32, cited in chapter 3, note 1] as directed specifically against his hated rival, Michelangelo. Clark is surely right about Leonardo’s indifference to conventional Christian doctrine—but that need not imply lack of religion in a broader sense.

59, 62, 83, 104, 105, 166, 260, all written after 1532 (6, 9. 31, 45, 392 et saepe). The supposed hegemony of Ficino at the court of Lorenzo during Michelangelo’s youth, long a mainstay for the idea of Ficinian influence on the young artist, has yielded to scholarly displacements of Ficino in the eighties and nineties to the margins of Florentine culture—at no time the far side of the world. There is no evidence that the youthful Michelangelo did not become acquainted with neo Platonic thought through some other humanist source like Cristoforo Landino, who died in 1504.

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