A sculptor; architect; painter; and graphic artist; Michelangelo cannot be assigned definitely to any of those genres. The drawing as a medium for developing new ideas and conveying artistic thoughts; however; is the connecting link to and the basis of all his creative activities. During the Renaissance; drawing was established as the basis of every genre of art. Michelangelo viewed his drawings as material he needed for his work. Contemporaries of Michelangelo collected his drawings during his lifetime and guarded them like precious gems. Presently; the total number of his existing drawings is around 600. However; during his more than seventy years of activity; he certainly produced much more; thus many works by the master must have been lost. It is well known that Michelangelo twice destroyed his own drawings: the first time was in 1517; the second time shortly before his death.
#2954515 in eBooks 2015-07-03 2015-07-03File Name: B010M92FCE
Review
0 of 0 people found the following review helpful. Not Only ImpressionismBy LLOYD BREGMANThis is an exceptionally ambitious book which succeeds on all fronts. Young presents a radically revised view of Realist Painting in the Age of Impressionism which combines the aesthetic commentary of the painters. their remarkably informed contemporary critics. with a healthy slice of political. economic social context. This may sound boring. But in the hands of an astute and visually informed historian it brings seemingly Academic realist paintings - that in the past i would not have given the slightest attention- a sense of compelling interest and personal engagement. For the follower of art critical writing the formidable stylistic accomplishments of the French 19th century critics -Huysmans. Zola. many others- are included to provide a historically enlivened context that makes for a delicious read.In many ways Youngs work is engaged in an aesthetic meditation on the perception reception of visual time. In an age of escalating change the recording of which was coming to be dominated by photography there was an intense campaign by painters to articulate ways of life that reflected attitudes towards the conception of time. Young uses the hoary much contested concepts of T.J. Clark Michael Fried of absorption vs. theatricality with remarkable dexterity to achieve a subtle yet highly satisfying encompassing view. Bottom line: not only the Impressionists are worthy of our respect for their revolutionary efforts to embrace social change by presenting a new set of aesthetic ideals.A new sense of critical respect weight should be given to Realism in French painting of the 1870s that in turn provides serious insight into the work of Ensor. Seurat. Hammershoi.
