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Download PDF Michelangelo and the Pope's Ceiling, by Ross King
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Michelangelo and the Pope's Ceiling, by Ross King
Download PDF Michelangelo and the Pope's Ceiling, by Ross King
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Amazon.com Review
Almost 500 years after Michelangelo Buonarroti frescoed the ceiling of the Sistine Chapel in Rome, the site still attracts throngs of visitors and is considered one of the artistic masterpieces of the world. Michelangelo and the PopeÂ’s Ceiling unveils the story behind the art's making, a story rife with all the drama of a modern-day soap opera. The temperament of the day was dictated by the politics of the papal court, a corrupt and powerful office steeped in controversy; Pope Julius II even had a nickname, "Il Papa Terrible," to prove it. Along with his violent outbursts and warmongering, Pope Julius II took upon himself to restore the Sistine Chapel and pretty much intimidated Michelangelo into painting the ceiling even though the artist considered himself primarily a sculptor and was particularly unfamiliar with the temperamental art of fresco. Along with technical difficulties, personality conflicts, and money troubles, Michelangelo was plagued by health problems and competition in the form of the dashing and talented young painter Raphael. Author Ross King offers an in-depth analysis of the complex historical background that led to the magnificence that is the Sistine Chapel ceiling along with detailed discussion of some of the ceilingÂ’s panels. King provides fabulous tidbits of information and weaves together a fascinating historical tale. --J.P. Cohen
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From Publishers Weekly
When Pope Julius II saw Michelangelo's Pieta, he determined to have his grand tomb made by the artist. Summoned from Florence to Rome in 1508, Michelangelo found himself on the losing side of a competition between architects and the victim of a plot "to force a hopeless task" upon him-frescoing the vault of the Sistine Chapel. How the sculptor met this painterly challenge is the matter of this popular account, which demythologizes and dramatizes without hectoring or debasing. Forget cinematic images of Charlton Heston flat on his back-Michelangelo's "head tipped back, his body bent like a bow, his beard and paintbrush pointing to heaven, and his face spattered with paint" is excruciating enough to sustain the legend. King (Brunelleschi's Dome) re-creates Michelangelo's day-to-day world: the assistants who worked directly on the Sistine Chapel, the continuing rivalry with Raphael and the figures who had much to do with his world if not his art (da Vinci, Savonarola, Ariosto, Machiavelli, Martin Luther, Erasmus), including the steely Julius II. King makes the familiar fresh, reminding the reader of the "novelty" of Michelangelo's image of God and how "completely unheard of in previous depictions of the ancestors of Christ" was his use of women. Technical matters (making pigments, foreshortening) are lucidly handled. The 16 color and 30 b&w illustrations were not seen by PW, but should add further specifics to a nicely grounded piece of historical dramatization. Copyright 2002 Reed Business Information, Inc.
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Product details
Hardcover: 304 pages
Publisher: Walker Books; First Edition edition (January 1, 2003)
Language: English
ISBN-10: 0802713955
ISBN-13: 978-0802713957
Product Dimensions:
1 x 1 x 1 inches
Shipping Weight: 1.7 pounds (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
295 customer reviews
Amazon Best Sellers Rank:
#354,583 in Books (See Top 100 in Books)
As a new art student I've taken a real interest in the lives of artisits. This has been one of the best books so far. What I really liked about this book was the fact you didn't have to know anything about Michelangelo or the time period to enjoy and understand this book. It's more than just the story of the Sistine Chapel, it also goes into the things that were going on around Michelangelo while he was working on it. It also gives you some insight as to how he felt about himself (not the nicest guy) and how his confidence grew inspite of the fact he was competeing with Rapheal (who was a nice guy)and other factors including the weather and the effect it was having on the ceiling. If you want a good all around book on Michelangelo this would be a really good one to start with. My only complaint is it could of had a few more pictures of some of the paintings described in the book.
Pope Julius II was a fastidious man whose eye for the arts was always set on his lofty standards of beauty and perfection that few artists could satisfy. So when the pope saw the Pieta whose beauty surpassed the ancient Greek and Roman sculptures adorning the tomb of a French cardinal, he wanted the same awe-inspiring adornment for his tomb, whereupon one Michelangelo Buonarroti from Florence was summoned for the commission for the work. From then on, that’s how Michelangelo at age thirty-three reluctantly embarked on his Herculean task of frescoing the vault of the Sistine Chapel. This book by Ross King recounts such background stories of the making of the Sistine Chapel frescoes and descriptions of the personal traits of Michelangelo.Michelangelo’s work on the frescoes resulted from part Divine Providence of endowing the humanity with an awe-inspiring masterpiece of art to delight the senses of mankind through the ages and part secular ambitions to mark the names of both the commissioner and the artist themselves. Pope Julius II also wanted to renovate the Sistine Chapel that had been used as a living quarter for the guards, a fortress against papal enemies, and a jail. As no one pours new wine into old wineskins as said in the bible, the pope’s plan to revert the chapel to its original place of worship, which made him drop his tomb project, was met by his idea of frescoing the vault in its entirety. Michelangelo, who was a breadwinner of his family, accepted the commission with sumptuous amount of salary and commenced four-year of labor of woes and dramas on the vault of the chapel.There are revealing truths that should be known concerning the process of frescoing the Sistine Chapel as follows: Contrary to popular belief that Michelangelo did the work while lying prone on his back, he worked with his upper body bent backward like a bow. Also, it wasn’t done by solely by Michelangelo but a work of concerted efforts made by a contingent of his assistants chosen by Francesco Granacci, a close friend of Michelangelo. Michelangelo was innately a solitary worker who had a strong distrust of others who worked with him. As a matter of fact, Michelangelo was never a jolly fellow whose sociability would have endeared him to all, as in the case of his contemporary Raphael Sancti.It is also interesting to pay special notes on the figures Michelangelo used for the frescoes, which shows his ingenuity of selecting unique subject matters distinguished from his contemporaries. To illustrate, he used 7 prophets from the Old Testament and 5 sibyls from pagan myth to decorate the Sistine vaults. He was fascinated with prophetic knowledge of the sibyls who dwelled in sacred shrines and predicted the future in fits of inspired madness. This offered a compelling link between the sacred and the profane, the church and the esoteric pagan culture by reconciling pagan mythology with orthodox Christian teachings.From this book, readers will find that the position of a painter/sculptor was not esteemed highly; he was more of a skilled laborer, a craftsman, given exact orders how to produce his work by his commissioner or patron. As a matter of fact, the image of a solitary genius who would wield his brush and pallets to portray his world of imagination from the fathoms of his soul was a romantic fable. In Michelangelo’s time, an artist’s creativity was fettered by the demands of marketplace or his patron. Nevertheless, Michelangelo often disagreed to the pope’s own artistic direction and even had a temerity of broaching the shipping charges incurred in transporting the marbles from Carrara for the aborted tomb project at a dinner table with the pope .Michelangelo was said to be a man of aesthetically unpleasing appearance without sociability; his direct altercation with Leonardo da Vinci as described in this book was amusing to discover. Both of the masters of the arts did not like each other publicly, but it was on the part of da Vinci who instigated such heated feud. He disregarded sculptors, including Michelangelo, as mechanics in the appearance of unkempt bakers.King’s research into this daunting subject matter is indeed impressive and highly laudable. Reading his account of how Michelangelo worked on his frescoes enabled me to envision the scene very vividly. The descriptions of the streets, alleys, and the Sistine Chapel are realistically rendered as if they were pictures. However, I could not help but feel a subtle tone of anti-papacy or even a remote sense of anti-Catholicism in this book. Evidently, there were corruptions among the church officials, clerics, not to mention the laypersons. But I wonder if King should have spent several chapters about Pope Julius II to discern just what kind of person he was in a negative shadow, the fallacy of his character, of the papacy in general. I ascribe such tendency to culturally transmitted anti-Catholicism in England, a home of the Episcopal Church, from the time of Henry VIII because this is not the first time I recognize such sentiment in English writers.Notwithstanding the above sentiment, the book has its magical way of transporting readers to Italy in the early 16th century and invites readers to meet with Michelangelo as he was in his disheveled hair and untidy outfit dripped with colors from the unfinished fresco. Despite all his personal foibles, he is indeed a person bizarre fantastico whose muscular nudes in frantic but graceful gyrates have both the beauty and the sublime that produce in the spectator a kind of astonished wonder so formidable and so fantastic throughout the ages.
The topic of this book is an artistic and historic blockbuster: Michelangelo's famous frescoes on the ceiling of the Sistine Chapel. The author tells the story in great detail -- arguably in too great detail. Every artist and assistant artist and many of their relatives and patrons are given, along with their towns and some of their history -- often with little relevance to the story. This is a lot to wade through and is more than is necessary. Their names are long and hard to pronounce, at least for a non-speaker of Italian. There is a fair amount of repetition as well. For example, we are told at least three times that, contrary to (supposed) popular belief, Michelangelo did not do his painting solo and while lying on his back (as in Irving Stone's "The Agony and the Ecstasy"): He built elaborate scaffolding to make his work and that of his assistants easier. We are told about the sexual reputations of not just Michelangelo (meh) and Raphael (stud), but of many of their friends and associates. This sounds promising but is actually not that explicit and hence a bit disappointing when the book could have used a bit of pizzazz...Arguably, the person who has the most developed and interesting character is not the artist but the man who commissioned him: Pope Julius II -- a domineering and vain and aggressive person, who was perhaps more interested in the power struggles among the Vatican and the Italian city-states (and against France) in the 16th century than in the finer points of the Catholic faith. We never get a definitive idea of how Michelangelo himself felt about Julius -- though it seems negative in balance. We also don't get much info on Michelangelo's attitude toward religion, though it is suggested that he was a believer (with little supporting evidence).Although the book is about Michelangelo as a painter, he considered himself primarily a sculptor (and is perhaps remembered that way). Yet there is not much about his work with stone and its relation to his painting.One of the book's major shortcomings is the lack of good illustrations. There are just a few color plates and not that many black and white ones. I had to go to the Wikipedia entry on the Sistine Chapel to get decent close-ups so I could follow the descriptions in the text. The author should have included at least this link (and probably others that might be even better). The author's analysis of the frescoes artistic features does not seem authoritative and at times seems sketchy. Of course, to be fair, there are plenty of expert analyses to be had.I had previously read the author's "Bruneleschi's Dome" which is more streamlined and easier to digest. "Pope's ceiling" was, though interesting, rather ponderous. Sometimes less is more as they say.
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