000			05348cam a2200433Ii 4500
001			ocm870517071
005			20230703154918.0
008			140213t20142003nyua b 001 0 eng d
020			_a1620408406
020			_a9781620408407 : _c$18.00
035			_a(MiKW)5060941-wmichdb
035			_a(OCoLC)870517071
035			_a5060941
035			_aocn870517071
040			_aYDXCP _beng _cYDXCP _dBDX _dTDF _dBKL _dUtOrBLW _dMiTN
043			_ae-vc--- _ae-it---
050		4	_aND623 .B9 _bK55 2014
082	0	4	_a759.5 _223
100	1		_aKing, Ross, _d1962-
245	1	0	_aMichelangelo & the Pope's ceiling / _cRoss King.
246	1	4	_aMichelangelo and the Pope's ceiling.
250			_aPaperback edition.
264		1	_aNew York : _bBloomsbury, _c2014.
264		4	_c©2003.
300			_a373 pages : _billustrations (some color) ; _c24 cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
504			_aIncludes bibliographical references (pages 319-356) and index.
505	0		_aSummons -- Conspiracy -- Warrior Pope -- Penance -- Painting in the wet -- Design -- Assistants -- House of Buonarroti -- Fountains of the great deep -- Competition -- Great quandary -- Flaying of Marsyas -- True colors -- He shall build the temple of the Lord -- Family business -- Laocoon -- Golden age -- School of Athens -- Forbidden fruit -- Barbarous multitudes -- Bologna redux -- World's game -- New and wonderful manner of painting -- First and supreme creator -- Expulsion of Heliodorus -- Monster of Ravenna -- Many strange forms -- Armor of faith and the sword of light -- II Pensieroso -- In evil plight -- Final touches -- Language of the gods -- Notes -- Bibliography -- Index.
520			_aIn 1508, despite strong advice to the contrary, the powerful Pope Julius II commissioned Michelangelo to paint the ceiling of the newly restored Sistine Chapel. With little experience as a painter (though famed for his sculpture David), Michelangelo was reluctant to begin the massive project. Michelangelo and the Pope's Ceiling recounts the four extraordinary years Michelangelo spent laboring over the vast ceiling while the power politics and personal rivalries that abounded in Rome swirled around him. Battling against ill health, financial difficulties, domestic problems, the pope's impatience, and a bitter rivalry with the brilliant young painter Raphael, Michelangelo created scenes so beautiful that they are considered to be among the greatest masterpieces of all time. A panorama of illustrious figures converged around the creation of this magnificent work-from the great Dutch scholar Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history. Four years earlier, at the age of twenty-nine, Michelangelo had unveiled his masterful statue of David in Florence; however, he had little experience as a painter, even less working in the delicate medium of fresco, and none with the curved surface of vaults, which dominated the chapel's ceiling. The temperamental Michelangelo was himself reluctant, and he stormed away from Rome, risking Julius's wrath, only to be persuaded to eventually begin. Michelangelo would spend the next four years laboring over the vast ceiling. He executed hundreds of drawings, many of which are masterpieces in their own right. Contrary to legend, he and his assistants worked standing rather than on their backs, and after his years on the scaffold, Michelangelo suffered a bizarre form of eyestrain that made it impossible for him to read letters unless he held them at arm's length. Nonetheless, he produced one of the greatest masterpieces of all time, about which Giorgio Vasari, in his Lives of the Artists, wrote, 'There is no other work to compare with this for excellence, nor could there be.' Ross King's fascinating new book tells the story of those four extraordinary years. Battling against ill health, financial difficulties, domestic problems, inadequate knowledge of the art of fresco, and the pope's impatience, Michelangelo created figures-depicting the Creation, the Fall, and the Flood-so beautiful that, when they were unveiled in 1512, they stunned his onlookers. Modern anatomy has yet to find names for some of the muscles on his nudes, they are painted in such detail. While he worked, Rome teemed around him, its politics and rivalries with other city-states and with France at fever pitch, often intruding on his work. From Michelangelo's experiments with the composition of pigment and plaster to his bitter competition with the famed painter Raphael, who was working on the neighboring Papal Apartments, Ross King presents a magnificent tapestry of day-to-day life on the ingenious Sistine scaffolding and outside in the upheaval of early-sixteenth-century Rome.
600	0	0	_aMichelangelo Buonarroti, _d1475-1564 _xAppreciation.
600	0	0	_aMichelangelo Buonarroti, _d1475-1564 _xContemporaries.
610	2	0	_aCappella Sistina (Vatican Palace, Vatican City)
630	0	0	_aBible _vIllustrations.
650		0	_aMural painting and decoration, Italian _zVatican City.
650		0	_aMural painting and decoration, Renaissance _zVatican City.
651		0	_aItaly _xHistory _y1492-1559.
999			_c523175 _d523175