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Michelangelo, Giotto, and Murder

Michelangelo, Giotto, and Murder Norman E. Land The literary legend of Michelangelo Buonarroti (1475-1564), whom many still consider to be the quintessential Renaissance artist, is, to say the very least, complex. While he has been often represented as a saintly and even "divine" being, most notably by Giorgio Vasari (1511-1574) in his Vite de pili eccellenti pittori, scultori ed architetti (Florence, 1568), he also has been portrayed as a less than perfect person . As early as 1524, the historian and biographer Paolo Giovio (1483-1552) noticed the dark or shadow side of Michelangelo's character when he referred to the artist's elevated genius, but also to his "rude and uncivilized" behavior. According to Giovio, Michelangelo lacked generosity in his domestic life and was unwilling to teach his art to others.' About two decades later, in the so-called "Dialogos em Roma" (1548) of the Portuguese painter, Francisco de Hollanda (1517-1584), a fictional Michelangelo, perhaps referring to his living counterpart, speaks of those who say that eminent painters are not only "strange, harsh, and unbearable" but "fantastic and capriciou s."? Both Ascanio Condivi (ca. 1520-1574) in his Vita di Michelangolo Buonarroti (Rome, 1553) and Vasari say that some people viewed Michelangelo's solitary existence and anti-social http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

Michelangelo, Giotto, and Murder

Explorations in Renaissance Culture , Volume 32 (2): 204 – Dec 2, 2006

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Publisher
Brill
Copyright
© Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000323
Publisher site
See Article on Publisher Site

Abstract

Norman E. Land The literary legend of Michelangelo Buonarroti (1475-1564), whom many still consider to be the quintessential Renaissance artist, is, to say the very least, complex. While he has been often represented as a saintly and even "divine" being, most notably by Giorgio Vasari (1511-1574) in his Vite de pili eccellenti pittori, scultori ed architetti (Florence, 1568), he also has been portrayed as a less than perfect person . As early as 1524, the historian and biographer Paolo Giovio (1483-1552) noticed the dark or shadow side of Michelangelo's character when he referred to the artist's elevated genius, but also to his "rude and uncivilized" behavior. According to Giovio, Michelangelo lacked generosity in his domestic life and was unwilling to teach his art to others.' About two decades later, in the so-called "Dialogos em Roma" (1548) of the Portuguese painter, Francisco de Hollanda (1517-1584), a fictional Michelangelo, perhaps referring to his living counterpart, speaks of those who say that eminent painters are not only "strange, harsh, and unbearable" but "fantastic and capriciou s."? Both Ascanio Condivi (ca. 1520-1574) in his Vita di Michelangolo Buonarroti (Rome, 1553) and Vasari say that some people viewed Michelangelo's solitary existence and anti-social

Journal

Explorations in Renaissance CultureBrill

Published: Dec 2, 2006

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