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Your body is much more than a collection of organs. It is a masterpiece, waiting to be discovered. Over the course of his career as an emergency physician, Dr. Anoop Kumar has come to recognize that what we have learned about the human body is remarkably incomplete and outdated. In these pages, he offers insights into: > Why reconsidering what we've been told about our bodies is essential to healing and well-being. > What the complete anatomy of a human being looks like. > How a new framework for understanding the human body will help create a more inclusive and complete health care system. > What you can do now to start experiencing well-being . Personal and profound, these pages take us inside the mind of an emergency physician as he realizes that honoring his patients and his profession requires challenging the dogma of medical science and offering a unifying vision for well-being and health care.
Medicine's Michelangelo: The Life & Art of Frank H. Netter, MD, is the first biography of this illustrious figure, who is revered by generations of students of medicine. Netter was the son of working class immigrants who owned a stationery store inthe theater district of New York. In his youth, all he ever wanted to do was to paint, but his mother wanted him to do "something 'respectable' like being a doctor or an engineer." He finished an internship in medicine and surgery at Bellevue Hospital, but found that there was more demand for his sable brush than for his scalpel, and for the next fifty years devoted himselffull time to making medical illustrations. He moved into both the glamorous New York art world and intellectual medical circles. He lived in opulent homes on Long Island and in Palm Beach, lunched at the Society of Illustrators with the likes of Norman Rockwell and Rube Goldberg, and at the great teaching hospitals consulted with hundreds of medical experts, among them Drs. Michael DeBakey, C. Everett Koop, Albert Sabin, and Paul Dudley White.Frank Netter single-handedly documented the great medical advances of the 20th century. Francine Mary Netter captures the character of the man, relying on her remembrances; her father's autobiographical notes, personal correspondence, and private files; publications of his work; public archives; and more than 100 interviews with family members, artists, distinguished practitioners, and scientists. Medicine's Michelangelo reveals the man behind the art.
Michelangelo used images of human anatomy throughout his work. Nearly the entire body is there, albeit in pieces. Michelangelo began his career with extensive dissections of human corpses and ended his career talking about illustrating an anatomy book. He was hinting, as the anatomy was already there in his art. Perhaps at the time he made the art, he worried that it was too dangerous for his own person to reveal the secular anatomy theme. At the time, Renaissance scholars were studying human anatomy and trying to work out how the organs functioned. Many of them, like Leonardo da Vinci and Vesalius, self-published using their art. Herein are some of Michelangelo’s “self-published” contributions, human anatomy in his art and self-portraits, in the Sistine Chapel, paintings, and sculpture.
The liver and desire -- The heart under siege -- The love of the heart -- Faith in the heart -- The brain, judgment, and movement.
A renowned British public intellectual illustrates how our unique ability to point the index finger has shaped our amazing evolutionary pathway as humansIn this startlingly original and persuasive book, Raymond Tallis shows that it is easy to underestimate the influence of small things in determining what manner of creatures humans are. He argues that the independent movement of the human index finger is one such easily overlooked factor. Indeed, not for nothing is the index finger called the “forefinger.” It is the finger we most naturally deploy when we want to pry objects out of small spaces, but it plays a far more significant role in an action unique to us among primates: pointing.Tallis argues that it is through pointing that the index finger made a significant contribution to the development of humans and to the creation of a human world separate from the rest of the natural world. Observing the ceiling of the Sistine Chapel and the hugely familiar and awkward encounter between Michelangelo’s God and Man through their index fingers, Tallis identifies the artist’s intuitive awareness of the central role of the index finger in making us unique. Just as the reaching index fingers of God and Man are here made central to the creation of our kind, so Tallis believes that the seemingly simple act of pointing, which is used in a wide variety of ways, is central to our extraordinary evolution.
Cartoonist Ellen Forney explores the relationship between “crazy” and “creative” in this graphic memoir of her bipolar disorder, woven with stories of famous bipolar artists and writers. Shortly before her thirtieth birthday, Forney was diagnosed with bipolar disorder. Flagrantly manic and terrified that medications would cause her to lose creativity, she began a years-long struggle to find mental stability while retaining her passions and creativity. Searching to make sense of the popular concept of the crazy artist, she finds inspiration from the lives and work of other artists and writers who suffered from mood disorders, including Vincent van Gogh, Georgia O’Keeffe, William Styron, and Sylvia Plath. She also researches the clinical aspects of bipolar disorder, including the strengths and limitations of various treatments and medications, and what studies tell us about the conundrum of attempting to “cure” an otherwise brilliant mind. Darkly funny and intensely personal, Forney’s memoir provides a visceral glimpse into the effects of a mood disorder on an artist’s work, as she shares her own story through bold black-and-white images and evocative prose.
Discover the fascinating, crucial, and often dangerous relationship between Michelangelo and the stone quarries of Carrara in this clear-eyed and well-researched exploration that “recounts the artist's large life and lasting works with care and reverence” (Booklist). No artist looms so large in Western consciousness and culture as Michelangelo Buonarroti, the most celebrated sculptor of all time. And no place on earth provides a stone so capable of simulating the warmth and vitality of human flesh and incarnating the genius of a Michelangelo as the statuario of Carrara, the storied marble mecca at Tuscany's northwest corner. It was there, where shadowy Etruscans and Roman slaves once toiled, that Michelangelo risked his life in dozens of harrowing expeditions to secure the precious stone for his Pietà, Moses, and other masterpieces. Many books have recounted Michelangelo’s achievements in Florence and Rome. Michelangelo’s Mountain goes beyond all of them, revealing his escapades and ordeals in the spectacular landscape that was the third pole of his tumultuous career and the third wellspring of his art. Eric Scigliano brings this haunting place and eternally fascinating artist to life in a sweeping tale peopled by popes and poets, mad dukes and mythic monsters, scheming courtiers and rough-hewn quarrymen. He recounts the saga of the David, the improbable masterpiece that Michelangelo created against all odds, of the twin Hercules that he tried to erect beside it, and of the Salieri-like nemesis who snatched away the commission, turning a sculptural testament to liberty into a bitter symbol of tyranny and giving Florence the colossus it loves to hate. In showing how the artist, land, and stone transformed one another, Scigliano brings fresh insight to Michelangelo's most cherished works and illuminates his struggles with the princes and potentates of Carrara, Rome, and Medici Florence, who raised intrigue to a high art.
Fully illustrated with hundreds of artworks, this guide explores depictions of illness and healing in Western art.
"As he entered his seventies, the great Italian Renaissance artist Michelangelo despaired that his productive years were past. Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life. 'Michelangelo, God's Architect' is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter's Basilica and other major buildings. When the Pope handed Michelangelo control of the St. Peter's project in 1546, it was a study in architectural mismanagement, plagued by flawed design and faulty engineering. Assessing the situation with his uncompromising eye and razor-sharp intellect, Michelangelo overcame the furious resistance of Church officials to persuade the Pope that it was time to start over. In this richly illustrated book, leading Michelangelo expert William Wallace sheds new light on this least familiar part of Michelangelo's biography, revealing a creative genius who was also a skilled engineer and enterprising businessman. The challenge of building St. Peter's deepened Michelangelo's faith, Wallace shows. Fighting the intrigues of Church politics and his own declining health, Michelangelo became convinced that he was destined to build the largest and most magnificent church ever conceived. And he was determined to live long enough that no other architect could alter his design."--Provided by publisher.
In May 1555, a broadsheet was produced in Rome depicting the torture and execution in London and York of the Carthusians of the Charterhouses of London, Axeholme, Beauvale and Sheen during the reign of Henry VIII. This single-page martyrology provides the basis for an in-depth exploration of several interconnected artistic, scientific and scholarly communities active in Rome in 1555 which are identified as having being involved in its production. Their work and concerns, which reflect their time and intellectual environment, are deeply embedded in the broadsheet, especially those occupying the groups and individuals who came to be known as Spirituali and in particular those associated with Cardinal Reginald Pole who is shown to have played a key role in its production. Following an examination of the text and a discussion of the narrative intentions of its producers a systematic analysis is made of the images. This reveals that the structure, content and intention of what, at first sight, seems to be nothing more than a confessionally charged Catholic image of the English Carthusian martyrs, typical of the genre of propaganda produced during the Reformation, is, astonishingly, dominated by the most celebrated name of the Italian Renaissance, the artist Michelangelo Buonarotti. Not only are there direct borrowings from two works by Michelangelo which had just been completed in Rome, The Conversion of St Paul and The Crucifixion of St Peter in the Pauline Chapel but many other of his works are deliberately cited by the broadsheet's producers. Through the use of a variety of artistic, scientific and historical approaches, the author makes a compelling case for the reasons for Michelangelo's presence in the broadsheet and his influence on its design and production. The book not only demonstrates Michelangelo's close relationship with notable Catholic reformers, but shows him to have been at the heart of the English Counter Reformation at its inception. This detailed analysis of the broadsheet also throws fresh light on the Marian religious policy in England in 1555, the influence of Spain and the broader preoccupations of the Counter Reformation papacy, while at the same time, enriching our understanding of martyrology across the confessional divide of the Reformation.