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Michelangelo A Collection Of Fifteen Pictures And A Portrait Of The Master, With Introduction And Interpretation   By: (1863-1924)

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First Page:

[Illustration: MICHELANGELO BUONAROTTI (ATTRIBUTED TO BUGIARDINI) Uffizi Gallery, Florence ]

The Riverside Art Series

MICHELANGELO

A COLLECTION OF FIFTEEN PICTURES AND A PORTRAIT OF THE MASTER WITH INTRODUCTION AND INTERPRETATION

BY

ESTELLE M. HURLL

BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY

The Riverside Press, Cambridge 1900

COPYRIGHT, 1900, BY HOUGHTON, MIFFLIN & CO.

PREFACE

In making a collection of prints from the works of Michelangelo, it is impossible to secure any wide variety, either in subject or method of treatment. We are dealing here with a master whose import is always serious, and whose artistic individuality is strongly impressed on all his works, either in sculpture or painting. Our selections represent his best work in both arts. These are arranged, not in chronological order, but in a way which will lead the student from the subjects most familiar and easily understood to those which are more abstract and difficult.

ESTELLE M. HURLL. NEW BEDFORD, MASS. January, 1900.

CONTENTS AND LIST OF PICTURES

PORTRAIT OF MICHELANGELO. ATTRIBUTED TO BUGIARDINI. Frontispiece.

INTRODUCTION

I. ON MICHELANGELO'S CHARACTER AS AN ARTIST II. ON BOOKS OF REFERENCE III. HISTORICAL DIRECTORY OF THE WORKS OF ART IN THIS COLLECTION IV. COLLATERAL READINGS FROM LITERATURE V. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN MICHELANGELO'S LIFE VI. SOME OF MICHELANGELO'S FAMOUS ITALIAN CONTEMPORARIES

I. MADONNA AND CHILD II. DAVID III. CUPID IV. MOSES V. THE HOLY FAMILY VI. THE PIETÀ VII. CHRIST TRIUMPHANT VIII. THE CREATION OF MAN IX. JEREMIAH X. DANIEL XI. THE DELPHIC SIBYL XII. THE CUMÆAN SIBYL XIII. LORENZO DE' MEDICI XIV. TOMB OF GIULIANO DE' MEDICI XV. CENTRAL FIGURES FROM THE LAST JUDGMENT XVI. PORTRAIT OF MICHELANGELO ( See Frontispiece )

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

NOTE: All the pictures with the exception of the Cupid were made from photographs by Fratelli Alinari. The Cupid was photographed from the statue in the South Kensington Museum, London.

INTRODUCTION

I. ON MICHELANGELO'S CHARACTER AS AN ARTIST.

Michelangelo's place in the world of art is altogether unique. His supremacy is acknowledged by all, but is understood by a few only. In the presence of his works none can stand unimpressed, yet few dare to claim any intimate knowledge of his art. The quality so vividly described in the Italian word terribilità is his predominant trait. He is one to awe rather than to attract, to overwhelm rather than to delight. The spectator must needs exclaim with humility, "Such knowledge is too wonderful for me; it is high, I cannot attain unto it." Yet while Michelangelo can never be a popular artist in the ordinary sense of the word, the powerful influence which he exercises seems constantly increasing. Year by year there are more who, drawn by the strange fascination of his genius, seek to read the meaning of his art.

His subjects are all profoundly serious in intention. Life was no holiday to this strenuous spirit; it was a stern conflict with the powers of darkness in which such heroes as David and Moses were needed. Like the old Hebrew prophets, the artist poured out his soul in a vehement protest against evil, and a stirring call to righteousness.

Considered both as a sculptor and a painter, Michelangelo's one vehicle of expression was the human body. His works are "form poems," through which he uttered his message to mankind. As he writes in one of his own sonnets,

"Nor hath God deigned to show himself elsewhere More clearly than in human forms sublime... Continue reading book >>




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