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Influential English critic Roger Fry used the figure to illustrate his emotional elements of design, or how formal elements such as mass and space produce emotion: When, for instance, we look at Michelangelo's "Jeremiah," and realise the irresistible momentum his movements would have, we experience powerful sentiments of reverence and awe. [1]
Jeremiah is a 1998 American made-for-television biblical epic drama film produced for RAI and starring Patrick Dempsey as the Biblical prophet Jeremiah. [1] The film originally aired on RAI network on December 14, 1998 (Italy) and PAX TV on August 27, 2000 (United States).
The Agony and the Ecstasy is a 1965 American historical drama film directed by Carol Reed and starring Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II.The film was partly based on Irving Stone's 1961 biographical novel of the same name, and deals with the conflicts of Michelangelo and Pope Julius II during the 1508–1512 painting of the Sistine Chapel ceiling.
El Jeremías is a 2015 Mexican comedy film, directed by Anwar Safa. The film stars Martín Castro as Jeremías, a bright child, who after learning he's a genius, struggles to succeed because of his family's poverty and ignorance.
When his commissioner and head of the Della Rovere nobility Pope Julius II dies, Michelangelo becomes obsessed with sourcing the finest marble to complete his tomb. The artist's loyalty is tested when Leo X , of the rival Medici family, ascends to the papacy and charges him with a lucrative new commission – the façade of the San Lorenzo ...
Based on the Vincenzo Labella's book Una stagione di giganti, it depicts real life events of Michelangelo, his youth, his approach with art, his friendship with Leonardo da Vinci and Raphael, and his involvement in great political and religious events. [1] [2] [3] [4]
The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. [ 1 ]
Davide Stanzione in Best Movie assigns the film 3.3 stars out of 5 and speaks of it as: "A surprising, bruised and sensual film, which manages to reproduce the works of Caravaggio within the visual fabric of the images and restores, with more accursed vigor than you stumble, the torrid demons of a boundless artist, torn between the torment of the body and the ecstasy of the sacred".