Thesis--University of Michigan, 1977. / Facsimile reproduction by microfilm-xerography.

Thesis--University of Michigan, 1977. / Facsimile reproduction by microfilm-xerography.

Thesis (doctoral)--Universität Wuppertal, 2001. / Includes bibliographical references (p. 371-392).

Thesis (doctoral)--Universität Wuppertal, 2001. / Includes bibliographical references (p. 371-392).

Berlin, Freie Universiẗat, Diss., 1999. / Dateiformat: zip, Dateien im PDF-Format.

Michelangelo considered a mastery of the body and anatomy to be the essential "theory" articulating the practice of architecture. For him, the reality of the moving human figure embodied the supreme difficulty of life as animation. By his architectural appropriation of the figure, human artifice was understood to be circumscribed by the radical intelligibility of the processes of life. This study is an articulation of his vital understanding of the living body and artifice by the "vision" of anatomy. The outline of an artifice faithful to the radical life of things is first examined in the thought and practice of medicine in the Renaissance. Upon this understanding, the coherence of Michelangelo's unprecedented emphasis upon the living body for architecture may be articulated. It concludes with an elaboration of his "theory"; the vision of anatomy as a dynamic drawing of things as they appear.

No description available.

Thesis (M.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains v, 57 p. : ill. Vita. Includes abstract. Includes bibliographical references (p. 53-56).

No description available.

Em As Vidas dos mais ilustres pintores, escultores e arquitetos, Giorgio Vasari afirma que Michelangelo supera e vence a todos os artífices antigos e modernos. Este trabalho investiga como Michelangelo alia a virtude de conhecer as regras das artes antigas e a de alçar-se para além delas, a partir do que escreve Vasari acerca do artífice e de sua pintura, escultura e arquitetura, unidas como artes do desenho. As preceptivas de que trata Vasari delimitam o campo para uma análise tanto da observância quanto das variações que Michelangelo insere nas regras de artes da Antiguidade. O antigo, colocado em um novo lugar, abre caminhos para os artífices de todas as gerações posteriores, pois Michelangelo afrouxa os laços que os fazia pintar, esculpir e arquitetar dentro dos estritos limites da tradição greco-romana. / In Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari claims that Michelangelo surpasses and triumphs at all the ancient and modern artificers. This research investigates the way Michelangelo associates the virtue of knowing the ancient art rules and the virtue of going beyond them, according to what Vasari writes about the artificer and his painting, sculpture and architecture, gathering as the arts of design. The preceptives which Vasari deals with delimit the field of the analysis of the observance and of the variations Michelangelo inserts in the art rules from Antiquity. The ancient, in a new place, opens ways to the artificers of all posterior generations, since Michelangelo looses the ties which made them to paint, to sculpt and to architect under the strict limits of the Greek-Roman tradition.