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.

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Michelangelo Buonarroti (Florença, 1475 Roma, 1564) foi o autor de uma não muito vasta obra poética, escrita ao longo de praticamente toda a sua vida, em paralelo às suas atividades artísticas. Apreciada, no passado, principalmente por conta de seu caráter expressivo ou documental, a obra poética de Michelangelo vem sendo, nos últimos tempos, objeto de uma abrangente revisão crítica, cuja intenção é reavaliá-la em seu aspecto poético e formal. Nesse contexto, insere-se o problema fundamental de sua obra tardia, ou, como se diz mais comumente, de sua última poesia que se distingue, marcadamente, de sua produção anterior. De fato, boa parte de sua primeira poesia é dedicada à temática amorosa, e apresenta, como característica central de estilo, o gosto pela dificuldade formal. Em seus anos finais, porém, Michelangelo dedicaria sua poesia a temas quase que exclusivamente religiosos, fazendo-os acompanhar de uma radical simplificação do estilo. Estudos recentes buscaram interpretar este fenômeno, relacionando-o, principalmente, por afinidade temática, à crise religiosa do século XVI, que implicou, em certa medida, uma crise das formas artísticas e poéticas, bem como dos valores éticos propriamente renascentistas. A partir de seu contato com novas ideias religiosas, muitas de cunho reformista (cujas fontes possíveis seriam Vittoria Colonna e o grupo dos spirituali, reunido em torno de Juan de Valdés), Michelangelo teria buscado propor uma nova poética, dando novos rumos às suas composições. Desse modo, a poesia religiosa dos últimos anos de Michelangelo adquire um significado mais profundo no conjunto de sua obra apresentando-se, a um só tempo, como revisão da tradição poética e de seus escritos juvenis, refletindo a situação de crise de valores humanistas e renascentistas no início do século XVI. / Michelangelo Buonarroti (Florence, 1475 Rome, 1564) was the author of a not so vast poetic work, written in the course of almost all his life, alongside with his other artistic activities. Better known, in the past, mainly for its expressive and documental qualities, Michelangelos poetry has been subjected, in recent times, to a wide critical review, whose purpose is to reevaluate it in its poetical and formal aspects. In this context, the problem of his late poetry emerges as a fundamental one, as it drastically distinguishes itself from all his previous works. In fact, a great part of his first poetry is devoted to love themes, and its main style feature is the taste for formal difficulty. In his late years, however, Michelangelo would commit his verses almost exclusively to religious themes, alongside with a radical style simplification. Recent studies tried to understand this phenomenon, relating it mainly to the 16th century religious crisis, which implied, to a certain extent, the crisis of artistic and poetic forms, as well as Renascences ethical values. After contacting new religious ideas, many of reformist content (whose possible sources would be Vittoria Colonna and the spirituali circle of Juan de Valdés), Michelangelo had proposed a whole new set of poetic values, taking new paths with his compositions. In this sense, Michelangelos late poetry acquires a deeper meaning if looked against his work as a whole presenting itself, at one time, as a review of poetic tradition and of his own early writings, thus reflecting the crisis of humanist values in the first half of the 16th century.

Michelangelo Buonarroti (Florença, 1475 Roma, 1564) foi o autor de uma não muito vasta obra poética, escrita ao longo de praticamente toda a sua vida, em paralelo às suas atividades artísticas. Apreciada, no passado, principalmente por conta de seu caráter expressivo ou documental, a obra poética de Michelangelo vem sendo, nos últimos tempos, objeto de uma abrangente revisão crítica, cuja intenção é reavaliá-la em seu aspecto poético e formal. Nesse contexto, insere-se o problema fundamental de sua obra tardia, ou, como se diz mais comumente, de sua última poesia que se distingue, marcadamente, de sua produção anterior. De fato, boa parte de sua primeira poesia é dedicada à temática amorosa, e apresenta, como característica central de estilo, o gosto pela dificuldade formal. Em seus anos finais, porém, Michelangelo dedicaria sua poesia a temas quase que exclusivamente religiosos, fazendo-os acompanhar de uma radical simplificação do estilo. Estudos recentes buscaram interpretar este fenômeno, relacionando-o, principalmente, por afinidade temática, à crise religiosa do século XVI, que implicou, em certa medida, uma crise das formas artísticas e poéticas, bem como dos valores éticos propriamente renascentistas. A partir de seu contato com novas ideias religiosas, muitas de cunho reformista (cujas fontes possíveis seriam Vittoria Colonna e o grupo dos spirituali, reunido em torno de Juan de Valdés), Michelangelo teria buscado propor uma nova poética, dando novos rumos às suas composições. Desse modo, a poesia religiosa dos últimos anos de Michelangelo adquire um significado mais profundo no conjunto de sua obra apresentando-se, a um só tempo, como revisão da tradição poética e de seus escritos juvenis, refletindo a situação de crise de valores humanistas e renascentistas no início do século XVI. / Michelangelo Buonarroti (Florence, 1475 Rome, 1564) was the author of a not so vast poetic work, written in the course of almost all his life, alongside with his other artistic activities. Better known, in the past, mainly for its expressive and documental qualities, Michelangelos poetry has been subjected, in recent times, to a wide critical review, whose purpose is to reevaluate it in its poetical and formal aspects. In this context, the problem of his late poetry emerges as a fundamental one, as it drastically distinguishes itself from all his previous works. In fact, a great part of his first poetry is devoted to love themes, and its main style feature is the taste for formal difficulty. In his late years, however, Michelangelo would commit his verses almost exclusively to religious themes, alongside with a radical style simplification. Recent studies tried to understand this phenomenon, relating it mainly to the 16th century religious crisis, which implied, to a certain extent, the crisis of artistic and poetic forms, as well as Renascences ethical values. After contacting new religious ideas, many of reformist content (whose possible sources would be Vittoria Colonna and the spirituali circle of Juan de Valdés), Michelangelo had proposed a whole new set of poetic values, taking new paths with his compositions. In this sense, Michelangelos late poetry acquires a deeper meaning if looked against his work as a whole presenting itself, at one time, as a review of poetic tradition and of his own early writings, thus reflecting the crisis of humanist values in the first half of the 16th century.

Ouvrage issu de : Thèse (Ph.D) : histoire de l'art : University of the Witwatersrand : Johannesburg, 1991. / Bibliogr. p. 331-360. Index.

Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T19:28:27Z (GMT). No. of bitstreams: 1 Berriel_MarinaJorge_M.pdf: 703220 bytes, checksum: a205b05f50e77a9680b4bfe65d3ab7d6 (MD5) Previous issue date: 2008 / Resumo: É a realização de uma tradução comentada da obra La Vita di Michelangelo Buonarroti, escrita por Ascanio Condivi, referência na historiografia da arte clássica. No desenvolvimento desta tradução, a comparação de determinados aspectos da obra de Condivi com Vita di Michelangelo Buonarroti, de Giorgio Vasari e, secundariamente, com as biografias posteriores. Análise da função que algumas questões desempenham neste universo. Em especial a forma com a qual as crenças astrológicas e religiosas da época influenciaram as discussões sobre arte e sobre a posição social do artista. Podemos dizer que a dicotomia entre as duas principais visões de arte do período - a coordenada por Michelangelo, e a de Rafael - se justificam com a explicação astrológica quando tratam de questões como a predestinação do indivíduo e o quanto isto altera sua condição de artista. Outra questão é a reincidência de dois temas centrais para Michelangelo, que aparecem na última fase de sua vida: o terror (expresso na arte o sentimento de incomensurabilidade divina em relação ao humano), e a piedade (identificável na série de Pietà realizadas neste período). Secundariamente, discussões como a necessidade de Vasari e Condivi em estabelecer uma origem nobre para a família Buonarrotti, entre outras questões que possam surgir no desenvolvimento do trabalho / Abstract: This work is an annoted translation of the book La Vita di Michelangelo Buonarroti, written by Ascanio Condivi, which is a reference in Classic Art¿s historiography. In the development of this translation, a comparison of determinated aspects of both Vite di Michelangelo, one written by Giorgio Vasari and the other written by Ascanio Condivi is made. Among with these two versions of Vite di Michelangelo Buonarroti other biographies on the same matter written later on are also used as material of comparison on a secondary basis. An analises is made on the role that some questions represent on this particular universe. Specially the way in which religious and astrologycal beliefs of that time have inffluenced the discussions on the artist¿s social position. We may say that the dicotomy between the two most important points of view on Art of that period ¿ one belonging to Michelangelo Buonarroti, and the other belonging to Rafaello ¿ are justified by astrologycal explains when dealing with matters such as predestination of the individual and how it alters his condition as an artist. Another matter is the reincidence of two central themes for Michelangelo on his latest years: the terror (expressed in art as the feeling of unmeasurement of the divine as opposed to humane), and pity (indentifyable in the series of Pietà made in thet period). Secondly, discussions as Condivi¿s need to establish a nobel origin to the Buonarroti¿s family, among other matters that have come up during the development of this work / Mestrado / Historia da Arte / Mestre em História

The following thesis is a meditation on the drawings of Michelangelo that are connected to his three projects at San Lorenzo and a series of 'gift' drawings for Tomasso de'Cavalieri. The drawings offer a glimpse of his radically inventive imagination that calls for an architecture rooted in the soul and based on the appearance of a 'live' and an emotive body. Engaged within a holistic fabrication of architecture, both the recto and the verso of the sheet are constructed as palimpsests comprised of design sketches, figurative studies, poetic fragments and pragmatic calculations. As instruments of communication, Michelangelo's paper templates are intermediaries between the 'Divine One's' mindful hand and the scarpellini's chisel. A line can be traced from the outline of his disegno , the profillo of a face and the cut line of his modani. Poetry and profiles cross-pollinate in a poiesis of architecture that culminates at a threshold---the hinge between being and becoming---the place where Love tosses in his sleep.

Orientador: Luiz Cesar Marques Filho / Acompanha volume das figuras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-05T18:23:39Z (GMT). No. of bitstreams: 1 Gomes_Waldemar_M.pdf: 99392439 bytes, checksum: bbd9e4a60a5bca216b0c5680fecf9ea2 (MD5) Previous issue date: 2006 / Resumo: A construção do Sepulcro do Papa Júlio II ocupou 40 anos da vida produtiva madura de Michelangelo, entre 1505 e 1545. Idealizada como um grande mausoléo composto de cerca de 40 esculturas e ornamentos em bronze para ser construída na Basílica de São Pedro, o monumento passou a sofrer reduções gradativas a cada novo projeto que foi assinado entre Michelangelo e os herdeiros e executores da vontade do papa. O monumento edificado não mais na Basílica de São Pedro, mas na Igreja de San Pietro in Vincoli, conta com apenas 7 esculturas, algumas delas de discípulos do mestre florentino. Ao afirmar que o resultado final foi o resultado possível a que o artista conseguiu chegar para ver-se finalmente livre daquela encomenda, a crítica tem considerado que essa obra ficou muito aquém dos sonhos grandiosos tanto do papa quanto do próprio artista. A partir dos recentes trabalhos de restauro, Antonio Forcellino, Adriano Prosperi e Christoph L. Frommel avançaram novas hipóteses sobre as condicionantes sociais, políticas e religiosas que nortearam a conclusão do monumento e que teriam motivado Michelangelo a fazer a escolha de certas esculturas em detrimento de outras influenciado que teria sido pelo conteúdo do opúsculo Il Beneficio di Cristo. Com isto, eles criaram uma das mais novas e revolucionárias teorias sobre o programa iconográfico do resultado final dessa obra e avançaram novas luzes para sua compreensão, contribuindo para que possamos entendê-lo melhor / Abstract: Michelangelo spent 40 years both in his mature and productive life to build The Tomb of Pope Julius II between 1505 and 1545. Planned at the very beginning as a big mausoleum adorned with around 40 sculptures and pieces of bronze to be construct at Saint Peter Church, the sepulchral monument was reduced at each new project that was signed between Michelangelo and the executors and heirs of Pope Julius' wiIl. The monument was finally constructed not more in Saint Peter Church, but in Saint Peter in Chains, with only 7 sculptures, some of them by the hand of Michelangelo's disciples. Saying that the final result was a possible arrangement that the artist could arrive for to be free forever the scholars have appointed that this work became much distant from the dreams of the pope and the proper artist. Based on the recent works on restoration conducted by Antonio ForceIlino and supported by the studies made by Adriano Prosperi on religious field side by side the inquiries made by Christoph L. Frommel on the sculpture of Moses they advanced new hipothesis on the social, political and religious context that marked the conclusion of the monument and that motivated Michelangelo to choose some sculptures and not others under the influence of the little book II Beneficio di Cristo. FoIlowing this way they created one of the newest and the most revolutionary theories on the iconographic program of the last project of this work putting new lights on its comprehension and help us understand it better / Mestrado / Historia da Arte / Mestre em História

This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.

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