Pietat (miquel àngel)

Pietat (miquel àngel)

esclavo moribundo

El modelado del material difiere según las zonas dando un mayor volumen a la parte final del vestido de María para ofrecer una mayor estabilidad visual. En este caso, este modelo es más suave en los costados y vestiduras superiores, muy polvorientos para rellenar la tela por la superficie y así suavizar las formas.

En cuanto a la vestimenta, es interesante fijarse en las variedades de texturas, desde las más asombrosas hasta las inferiores a la suavidad de la camisa, lo que revela la atención del artista por estos detalles.

neptuno y tritón

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13:47, 22 de abril de 2006767 × 1,048 (166 KB)Ham IIRetrato de Miguel Ángel por Daniele da Volterra Fuente: [http://www.teylersmuseum.nl/museum/persons.jsp?view=/xsl/html&pageName=museum_collection_persons&lang=nl&id=10670]

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david

The sculpture had cracks and stains from the smoke of candlesSince Monday, visitors to the museum can see the restorers behind a screen studying the work, in a preliminary phase for diagnosis, while the actual restoration will begin in early 2020, museum sources have indicated.

The Bandini Pietà, almost two meters high, is one of Michelangelo’s masterpieces. Sculpted in his old age, it represents in his particular «serpentinato» and «non finito» style the descent of Christ, who lies in the arms of the Virgin Mary, Mary Magdalene and a Nicodemus with the face of the author. It is Michelangelo’s tormented work, as it is believed that he hammered it out in a fit of dissatisfaction and rage when he noticed an imperfection in the marble. The marks are visible today on Christ’s elbow, chest, back and left leg.

The sculpture was saved thanks to the fact that Michelangelo gave it to one of his disciples, Antonio Da Casteldurante, who had it repaired by Tiberio Calcagni who sold it to the banker Francesco Bandini for 200 scudi to decorate his villa in Montecavallo. In the late seventeenth century the Grand Duke Cosimo III de Medici bought it to decorate the tombs of his dynasty in San Lorenzo, until a century later it was relocated in the cathedral or Duomo of Florence and finally, in 1981, was installed in its museum.

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venus of urbino

It is said that Michelangelo personally went to Carrara to choose his marble blocks. Among all the available quarries of the time, there was a vein that gave the palest marble, from which the sculptor had the block for the Pietà taken.

The Pietà is classified as a sculptural whole or round sculpture. It is said to be a sculptural ensemble because it houses more than one figure, while full bulk means that it allows a visual displacement around the piece.

The monumentality of the Virgin Mary with respect to her son Jesus Christ serves as an element of optical correction to give balance to the sculptural ensemble. Its proportions are also related to the protagonist character of the character in this piece. Mary is the center of attention for the viewer.

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The different textures created through the different and meticulous modeling in each zone are especially striking. The marble in the Pietà has been modeled in different ways. The folds of the fabrics in the lower part of the work have greater volume, which gives stability.

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