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This volume presents Michelangelo's last work, the Rondanini Pietà, held by the Museo del Castello Sforzesco in Milan. The sculpture has been restored to its former glory,and the various stages of the restoration work are documented photographically, asnd the history of this masterpiece is recounted by Maria Teresa Fiorio.
This book is more than an introduction to the psychology of art appreciation, it puts into perspective the research carried out within the area and offers a new understanding of the relationship between art and viewer. A number of studies within the psycho-physical, cognitive, psychoanalytic, and existential-phenomenological schools of thought are presented in order to demonstrate how their views on the appreciation of visual art vary. Five different types of art appreciation, ranging from a spontaneous preference for a work of art to a blissful experience of trancendence, are identified and described.
This thesis considers Michelangelo’s final work, the Rondanini Pietà, which contains an upright Jesus supported from behind by Mary. The Pietà depicts the apocryphal moment following the Crucifixion when Christ was removed from the cross and placed in Mary’s embrace. The most interesting aspect of the Rondanini Pietà is that it was sculpted, destroyed, and reconstructed in distinct phases. In one of these phases, the body of Christ was destroyed, only to be re-created from the marble “flesh” of Mary. This research builds on the idea of John Paoletti that Mary’s figure was preceded by Nicodemus and a self-portrait of the artist. Studying the sculptural phases as an intentional part of the process adds great insight into the devotional quality of the work. The traces of revisions, including the pivotal change in character from Nicodemus to Mary, explain the very act of sculpting as a meditative process whereby Michelangelo engaged devotionally with the narrative of Christ’s death and anticipated “rebirth” from the tomb. Through the figures of Nicodemus and Mary, Michelangelo could mystically participate in various levels in the re-creation of Christ: the “medium” of salvation.
In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of ritual. Yet this was not always so. Imagery and hymns mattered, liturgial msic encouraged a sense of drama, sermons required rhetoric. In a characteristically stimulatling and inspiringly expansive study, that ranges from ancient Greek drama to modern poetry, from the meaning of the Logos to the history of vestments, David Brown pleads for a much wider focus on the kind of factors that aid experience of God.
This book offers a fresh perspective on Michelangelo’s well-known masterpiece, the Vatican Pietà, by tracing the shifting meaning of the work of art over time. Lisa M. Rafanelli chronicles the object history of the Vatican Pietà and the active role played by its many reproductions. The sculpture has been on continuous view for over 500 years, during which time its cultural, theological, and artistic significance has shifted. Equally important is the fact that over its long life it has been relocated numerous times and has also been reproduced in images and objects produced both during Michelangelo’s lifetime and long after, described here as artistic progeny: large-scale, unique sculpted variants, smaller-scale statuettes, plaster and bronze casts, and engraved prints. The book will be of interest to scholars working in art history, Renaissance studies, early modern studies, religion, Christianity, and theology.