Search results
Results From The WOW.Com Content Network
According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard someone remark (or asked visitors about the sculptor) that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. [11] Michelangelo carved the words on the sash running across Mary's chest.
The Deposition (also called the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance master Michelangelo.The sculpture, on which Michelangelo worked between 1547 and 1555, depicts four figures: the dead body of Jesus Christ, newly taken down from the Cross, Nicodemus [1] (or possibly Joseph of Arimathea), Mary Magdalene and the Virgin Mary.
Frederick Hartt (May 22, 1914 – October 31, 1991) was an Italian Renaissance scholar, author and professor of art history.His books include History of Italian Renaissance Art, Art: A History of Painting, Sculpture, and Architecture (two volumes), Michelangelo (Masters of Art Series), The Sistine Chapel and The Renaissance in Italy and Spain (Metropolitan Museum of Art Series).
Michelangelo's Pietà in Saint Peter's Basilica, 1498–1499. The Pietà (Italian pronunciation:; meaning "pity", "compassion") is a subject in Christian art depicting the Blessed Virgin Mary cradling the dead body of Jesus Christ after his Descent from the Cross. It is most often found in sculpture.
Pieta in its location in the side chapel in the Basilica of the Sacred Heart. The sculpture is inspired by Michelangelo’s Florentine Pietà, of which it reproduces the composition, with the figures of Nicodemus, Mary Magdalene and Mary found in a zigzagging fashion in a pyramidal arrangement. The pathos of Meštrović's work is very different ...
Metropolitan Museum of Art, New York Marble height 97 cm Venus and Cupid (in Italian) c. 1491–1492: Palazzo Medici-Riccardi, Florence Marble 43,5x58 cm Gallino Crucifix (in Italian) c. 1495–1497: Bargello Museum, Florence Wood 41,3×39,7 cm Young Saint John the Baptist [5] c. 1495–1497: Sacred Chapel of El Salvador, Úbeda: Marble
This final sculpture revisited the theme of the Virgin Mary mourning over the emaciated body of the dead Christ, which he had first explored in his Pietà of 1499. Like his late series of drawings of the Crucifixion and the sculpture of the Deposition of Christ intended for his own tomb, it was produced at a time when Michelangelo's sense of ...
The sculpture was allegedly brought to the Accademia for reasons of conservation, although other factors were involved in its move from its previous outdoor location on Piazza della Signoria. The original intention was to create a "Michelangelo museum", with original sculptures and drawings, to celebrate the fourth centenary of the artist's birth.