By Angela K. Nickerson
From St. Peter’s Basilica to the Capitoline Hill, this exact resource—part biography, half background, and half go back and forth guide—provides an intimate portrait of the connection among Michelangelo and town he restored to inventive greatness. Lavishly illustrated and richly informative, this trip spouse tells the tale of Michelangelo’s meteoric upward thrust, his profession marked by means of successive creative breakthroughs, his tempestuous family members with strong buyers, and his austere yet passionate deepest lifestyles. delivering road maps that let readers to navigate the town and notice Rome as Michelangelo knew it, each one bankruptcy specializes in a selected paintings that surprised Michelangelo’s contemporaries and smooth travelers alike.
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Additional info for A Journey into Michelangelo's Rome (ArtPlace series)
36 Cardinal Riario, the cardinal of St. George, was in the middle of building a new palace, now known as the 1 Palazzo della Cancelleria. Despite the ongoing construction, Michelangelo moved in. Sited in the middle of the Centro Storico—the historical center of the city—the Cancelleria gave Michelangelo easy access to the Pantheon, numerous churches, and the palazzi of the wealthiest Romans. A week after he arrived, Michelangelo wrote to Lorenzo: On Sunday the Cardinal came to the new house and asked for me; I went to him, and he asked me what I thought of the things I had seen.
He wrote to Michelangelo, pressing him for money and urging him to return to Florence. Answering his father’s call, Michelangelo left Rome—but only for a short time. Return to Florence Politically, Florence was calmer than when Michelangelo had left. Savonarola had met his fate: hanged publicly, his corpse was burned like so many of the artworks he had destroyed. The French controlled the city, having been allowed to enter by Piero de’ Medici in 1494, but relative peace had returned, allowing the inhabitants to get back to work and the wealthy to hire artists again.
Peter’s Basilica, separated from viewers by thick panes of bulletproof glass installed after a vandal attacked the piece with a hammer in 1972. Before St. Peter’s was rebuilt, the sculpture sat on the floor above a tomb. Today it is displayed on a pedestal in a secluded chapel, which prevents it from being seen at its best angle. Some experts believe Rome: Marvels in Marble that if it were moved to a dark church, the lighting would shift the focus away from Mary and on to Christ. Michelangelo’s Rome Pietà was recognized as extraordinary for its emotional depth, as well as for its technical mastery, and the artist’s reputation rapidly grew.
A Journey into Michelangelo's Rome (ArtPlace series) by Angela K. Nickerson