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This is the El Museu de les Ciències Príncipe Felipe. The museum is part of the modern cultural-scientific complex Ciutat de les Arts i les Ciències (City of arts and sciences), located at the end of the Turia gardens.
It’s an interactive museum of science that resembles the skeleton of a whale. It occupies around 40,000 m² on three floors. Much of the ground floor is taken up by a basketball court sponsored by a local team and various companies. The first floor has a view of the Turia Garden that surrounds the building. The second floor hosts “The Legacy of Science” exhibition by the researchers; Santiago Ramón y Cajal, Severo Ochoa y Jean Dausset. The third floor is known as the “Chromosome Forest” which shows the sequencing of human DNA. Also on this floor is the “Zero Gravity,” the “Space Academy,” and “Marvel Superheroes” exhibitions.
The three-story building was designed by Santiago Calatrava and has the appearance of a whale skeleton. The building’s architecture is known for its geometry, structure, use of materials, and its design around nature. This magnificent building stands 220 meters long, 80 meters wide and 55 meters high.
The museum was opened on November 13, 2000.
Technical stuff
When I visited Valencia, the marathon was held just one day before. The finish was situated in front of the Museum. Obviously, this meant that there were many temporary structures, objects and fences. So, I had to be rather creative to take a clean photo.
This is a single handheld photo at F7.1, 1/1400, -2/3 (as always;-) and 250 ISO. Post-production was done with PS CC. It included balancing the lighting with the curves tool, enhancing the sky with a partial (21%) black-and-white toning layer and cropping. Finally I added the copyright watermarks. The latter is, alas, there to stay due to the frequent copying of my photos. So, don't bother commenting on that.
This is the Ciudad de las Artes y las Ciencias, or City of Arts and Sciences in English, in Valencia, Spain. It is situated at the end of the former riverbed of the river Turia. This river was drained and rerouted after a catastrophic flood in 1957. After much public debate about the government’s proposal to plan a motorway there (as I’ve been told to connect the hinterland more with the beach) the old riverbed was finally turned into a picturesque, sunken and most of all a people’s park.
The City of Arts and Sciences (in Valencian dialect: Ciutat de les Arts i les Ciències a.k.a. CAC) is a cultural and architectural complex. It is the most important modern tourist destination in the city of Valencia and one of the 12 Treasures of Spain. It was designed by Santiago Calatrava and Félix Candela. The project began the first stages of construction in July 1996, and was inaugurated April 16, 1998 with the opening of L'Hemisfèric (just to the right of the middle in the panorama). The last great component of the City of Arts and Sciences, the El Palau de les Arts Reina Sofia, was inaugurated on October 9, 2005, Valencian Community Day.
The municipality of Valencia has undertaken something perhaps not many other cities would dare: they have invested millions of euros in architectural projects and looked beyond the projects themselves. But this proofed to be very difficult during the construction phase of nine years. Originally budgeted at €300 million, the project has costed nearly three times the initial expected cost. The final cost is estimated at 1.3 billion euros. In an interview Calatrava gave an explanation for repeatedly exceeding budgeting: "My goal is always to make something special that improves cities and enriches the lives of people who live and work there. It is a privilege to work on these projects, which are always completed to the highest standards". This may be true, but in actual fact the project was poorly managed from the point of view of design, in particular with regards to construction and material use, the technical realisation and the usability of public space surrounding the buildings. In short: Calatrava has great visions to make the world more beautiful and attractive, but for the implementation and realisation you need to co-hire an accurate and, above all, persevering engineer who is not guided by form alone.
From a macro-economic and touristic perspective the project is an enormous success. However, the complex has also become a symbol of profligate spending, financial mismanagement and waste. With perhaps a funny reference to the predominant colour used in the CAC-project, the project is considered one of Spain’s biggest white elephants.
Nonetheless, it’s a must see for everyone who visit’s Valencia. Not only to marvel at the uniqueness of the complex. But also to ask yourself the question: Does the Palau de les Arts look like an ancient Roman helmet or the more modern helmet of Darth Vader. And also the L'Hemisfèric resembles a Star Wars helmet. Can you guess which one???
Technical stuff
This panorama consists of 18 individual photos. Handheld at f8, ranging between 1/1700 to 1/400, with -2/3 stop and at 200 ISO. The pano covers an angle of roughly 205 degrees. In normal circumstance 12 or 13 photos would be enough. But due to the numbers of (long) lines and curvatures in the scene, I used more photos to compensate for this. It resulted in an initial merge – with PS CC – that was nearly perfect.
Post-production was also done with PS CC. I used the curves tool for balancing the broad lighting conditions. Furthermore, I used a black-and-white layer for colour balancing give the photo a more cool look (although it was 29 degrees Celsius). For publication I resized the image from a whopping wallpaper or billboard size to only 3000 pixels in length. Finally I added the copyright watermarks. The latter is, alas, there to stay due to the frequent copying of my photos. So, don't bother commenting on that.
In 1957, Valencia experienced a devastating flood that forever changed the city’s relationship with the Turia River. Nearly three quarters of the city was inundated by floodwater and over 60 people lost their lives. The following year, the city embraced a plan to divert the river around its western outskirts to the Mediterranean Sea.
The ambitious plan, known as “Plan Sur,” was completed in 1969. Although the new channel was a missed opportunity for renewal and innovation, the remnants of the old riverbed became a chance to create the landscape network which became today’s Jardín del Turia. But actually, a park wasn’t the aldermen first idea. In an effort to alleviate traffic congestion and to connect the hinterland more with the beach for economic reasons, they envisioned an elaborate highway system through the heart of the City. But by 1970 the citizens pushed back and protested the highway proposal. Their statement “The bed of Turia is ours and we want green!” By the end of the decade, the City approved legislation to turn the riverbed into a park and commissioned Ricard Bofill to create a master plan in 1982. The plan created a framework for the riverbed and divided it into 18 zones. Currently, all but one of the zones has been developed.
The resulting design establishes a monumental five-mile green ribbon within a dense and diverse urban fabric, including the historic center of the city. It has an average span of 600 feet from bank to bank. The park comprises over 450 acres and is characterized by bike paths, event spaces, active recreation fields, fountains, and many notable structures, such as the Alameda Bridge by Santiago Calatrava.
Technical stuff
This panorama consists of 16 individual – handheld – photos. It spans an angle of about 190 degrees. I merged them with the Photomerge tool in PS CC. For a good result the individual images should overlap by approximately 40%. But don’t go beyond 70%. It’s my experience that PS isn’t able to take it all in.
The merge resulted into a rather good baseline. I had to rework some small parts, but nothing really difficult. After that, I imported the image in Aurora HDR 2018. Before doing that, I had to resize the image to less then 14750 pixels length-wise. For some reason Aurora (the stand-alone version) doesn’t allow for bigger images to be exported TIFF or any other format. If anyone knows why, please feel free to comment. I’m really curious why.
As always I added copyright watermarks. Alas, they’re there to stay due to the frequent copying of my photos. So, don't bother commenting on that.
Ostatnio często fotografujemy w tym 47 piętrowym kolosie 😎 Budynek robi tak niesamowite wrażenie, że postanowiliśmy sobie „cyknąć” fotkę z INTEMPO w tle 🇪🇸🌴
Zapraszam na Instagram:
Église Saint-James, Montréal
Illuminart est un nouveau circuit alliant art, lumière et technologie déployé dans le centre-ville montréalais. S’adressant à un public curieux de découvertes et d’exploration, Illuminart rassemble des projets d’artistes, de créateurs, d’ingénieurs, de scénographes, de graphistes et de vidéastes venus d’ici et d’ailleurs. L’espace urbain s’illumine, s’anime et devient un rendez-vous de créativité, d’inspiration et de partage grâce à des œuvres tantôt surprenantes, impressionnantes ou amusantes.
Pour sa première édition qui a lieu du 22 février au 11 mars 2017, Illuminart présente 25 œuvres dans un parcours de 3,6 km dans le Quartier des spectacles. Conçu en collaboration artistique avec Lyon, le parcours accueille notamment 6 projets qui ont été présentés lors de la dernière édition de la Fête des Lumières.
2 - Évolutions
Un souffle numérique déconstruit et reconstruit l’Église Saint-James… Sous les projections et les lasers, la pierre devient mouvante et l’architecture se plie aux caprices de la physique et de la magie ! Une épopée poétique où patrimoine et technologie se croisent.
Yann Nguema, EZ3kiel
France
Formé en 1993, le groupe EZ3kiel (France) est réputé pour ses créations visuelles et sonores alliant poésie, pierres et futurisme. Responsable de l’ensemble de la production visuelle du groupe, Yann Nguema axe son travail sur le spectacle vivant avec une constante recherche autour de l’association image-musique.
Église Saint-James, Montréal
Illuminart est un nouveau circuit alliant art, lumière et technologie déployé dans le centre-ville montréalais. S’adressant à un public curieux de découvertes et d’exploration, Illuminart rassemble des projets d’artistes, de créateurs, d’ingénieurs, de scénographes, de graphistes et de vidéastes venus d’ici et d’ailleurs. L’espace urbain s’illumine, s’anime et devient un rendez-vous de créativité, d’inspiration et de partage grâce à des œuvres tantôt surprenantes, impressionnantes ou amusantes.
Pour sa première édition qui a lieu du 22 février au 11 mars 2017, Illuminart présente 25 œuvres dans un parcours de 3,6 km dans le Quartier des spectacles. Conçu en collaboration artistique avec Lyon, le parcours accueille notamment 6 projets qui ont été présentés lors de la dernière édition de la Fête des Lumières.
2 - Évolutions
Un souffle numérique déconstruit et reconstruit l’Église Saint-James… Sous les projections et les lasers, la pierre devient mouvante et l’architecture se plie aux caprices de la physique et de la magie ! Une épopée poétique où patrimoine et technologie se croisent.
Yann Nguema, EZ3kiel
France
Formé en 1993, le groupe EZ3kiel (France) est réputé pour ses créations visuelles et sonores alliant poésie, pierres et futurisme. Responsable de l’ensemble de la production visuelle du groupe, Yann Nguema axe son travail sur le spectacle vivant avec une constante recherche autour de l’association image-musique.
Luminothérapie, édition 2019-2020, Quartier des spectacles, Montréal
Place des festivals
Luminothérapie — POP! | 10e édition
Qui dit célébration dit surprise, musique et danse éclatées! POPO, POPUP, POPLI, POPETTE et POPOTIN sont cinq créatures fantastiques qui aiment faire le party. Elles attendent vos encouragements pour sortir de leur mystérieux monolithe lumineux et ainsi lancer une fête électrisante mettant joie et lumière au cœur de l’hiver. Rassemblez-vous devant eux, votre énergie collective éveillera toute la bande qui vous réserve une surprise.
En toile de fond, une projection architecturale met en vedette toutes les créatures de POP! de Gentilhomme.
Au centre de la place des Festivals se dressent d’énigmatiques monolithes dans lesquels sont enfermées les créatures de POP! Libérez-les en les appelant, en leur parlant ou même en chantant. Au fil de vos encouragements, observez chaque monolithe s’illuminer progressivement jusqu’à ce qu’il libère une créature qui s’offre en spectacle. Rassemblez cinq participants pour délivrer toute la bande de POP! en même temps et faire apparaître une surprise.
Luminothérapie est le plus important concours au Québec en matière d’installations temporaires destinées à l’espace public. Depuis 10 ans, il propose une expérience hivernale originale, interactive et captivante dans le Quartier des spectacles avec une installation à grand déploiement sur la place des Festivals.
www.quartierdesspectacles.com/fr/activite/26179/luminothe...
Luminothérapie, édition 2019-2020, Quartier des spectacles, Montréal
Place des festivals
Luminothérapie — POP! | 10e édition
Qui dit célébration dit surprise, musique et danse éclatées! POPO, POPUP, POPLI, POPETTE et POPOTIN sont cinq créatures fantastiques qui aiment faire le party. Elles attendent vos encouragements pour sortir de leur mystérieux monolithe lumineux et ainsi lancer une fête électrisante mettant joie et lumière au cœur de l’hiver. Rassemblez-vous devant eux, votre énergie collective éveillera toute la bande qui vous réserve une surprise.
En toile de fond, une projection architecturale met en vedette toutes les créatures de POP! de Gentilhomme.
Au centre de la place des Festivals se dressent d’énigmatiques monolithes dans lesquels sont enfermées les créatures de POP! Libérez-les en les appelant, en leur parlant ou même en chantant. Au fil de vos encouragements, observez chaque monolithe s’illuminer progressivement jusqu’à ce qu’il libère une créature qui s’offre en spectacle. Rassemblez cinq participants pour délivrer toute la bande de POP! en même temps et faire apparaître une surprise.
Luminothérapie est le plus important concours au Québec en matière d’installations temporaires destinées à l’espace public. Depuis 10 ans, il propose une expérience hivernale originale, interactive et captivante dans le Quartier des spectacles avec une installation à grand déploiement sur la place des Festivals.
www.quartierdesspectacles.com/fr/activite/26179/luminothe...
Luminothérapie, édition 2019-2020, Quartier des spectacles, Montréal
Place des festivals
Luminothérapie — POP! | 10e édition
Qui dit célébration dit surprise, musique et danse éclatées! POPO, POPUP, POPLI, POPETTE et POPOTIN sont cinq créatures fantastiques qui aiment faire le party. Elles attendent vos encouragements pour sortir de leur mystérieux monolithe lumineux et ainsi lancer une fête électrisante mettant joie et lumière au cœur de l’hiver. Rassemblez-vous devant eux, votre énergie collective éveillera toute la bande qui vous réserve une surprise.
En toile de fond, une projection architecturale met en vedette toutes les créatures de POP! de Gentilhomme.
Au centre de la place des Festivals se dressent d’énigmatiques monolithes dans lesquels sont enfermées les créatures de POP! Libérez-les en les appelant, en leur parlant ou même en chantant. Au fil de vos encouragements, observez chaque monolithe s’illuminer progressivement jusqu’à ce qu’il libère une créature qui s’offre en spectacle. Rassemblez cinq participants pour délivrer toute la bande de POP! en même temps et faire apparaître une surprise.
Luminothérapie est le plus important concours au Québec en matière d’installations temporaires destinées à l’espace public. Depuis 10 ans, il propose une expérience hivernale originale, interactive et captivante dans le Quartier des spectacles avec une installation à grand déploiement sur la place des Festivals.
www.quartierdesspectacles.com/fr/activite/26179/luminothe...
name: "freckle"
location: kiev region
function: single-family house
program: 160 sq.m.
architect: dmitry zhuikov
visualization: dmitry zhuikov
name: "megaphone"
location: kiev region
function: country house
program: 75 sq.m.
architect: dmitry zhuikov
visualization: arina ageeva
Anonymous engraver, after Antonio da Sangallo the Younger (1484–1546) and Antonio Labacco (about 1495–1570)
Engraving
By the time Michelangelo started work on St Peter's, Bramante's plan had been extensively altered. Construction was underway on an entirely new design by Sangallo. However, Michelangelo felt that Sangallo blocked off too much light, creating a shadowy interior that encouraged 'the hiding of exiles, the coining of base money, the raping of nuns' and other 'rascalities'. Against stiff opposition from Sangallo's workforce, he began yet another design.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
name: "standing box"
location: kiev region
function: country house
program: 40 sq.m.
architect: dmitry zhuikov
visualization: dmitry zhuikov
Michelangelo
Black chalk on paper
In 1532, Michelangelo made a drawing of the mythological giant Tityus for his friend Tommaso de' Cavalieri. On the back, he traced Tityus' pose at right-angles, converting the giant into the Risen Christ. This drawing is a worked-up version of the tracing. Christ's Resurrection fascinated Michelangelo during the early 1530s, and he made many drawings on the subject: these informed his treatment of Christ in the Last Judgment for the Sistine Chapel.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
The Palacio Legislativo Federal (Federal Legislative Palace) was a never-completed building for the legislative bodies of the Mexican Federal Republic. By the end of the 19th century, the government of President Porfirio Díaz, decided the congress needed an emblematic and proud building to house the Chamber of Deputies and the Senate. Inspired by the Reichstag building of the German Empire, the administration called for an international competition in which several famous architects of Europe and Mexico participated. Despite declaring a winner, the government decided to appoint a new architect to draw a completely new design.
The final project is a creation by Émile Bénard. When the Mexican Revolution broke out in 1910, the new president, Francisco I. Madero, changed the building's functions and name to Palacio de los Tres Poderes (Palace of the Three Powers) to be the offices of not only the legislative, but also the executive and judicial powers of the republic.
The chaos of the revolution deflected attention and resources away from the project and only the foundations, and the iron structure were completed. The building remained standing and rusting until the 1930s when it was finally decided to destroy the erected structure. However, the cupola was saved and turned into the Monument of the revolution by Carlos Obregón Santacilia, and the massive structure stands today as a mausoleum to the heroes of the Mexican Revolution and a reminder of how the Capitol of Mexico could have been.
source = wikipedia
name: "freckle"
location: kiev region
function: single-family house
program: 160 sq.m.
architect: dmitry zhuikov
visualization: dmitry zhuikov
Bird's-eye view of Michelangelo's design for the Campidoglio, 1569
Étienne Dupérac
Etching, first state
Michelangelo became involved in plans to renovate the Capitoline Hill (Campidoglio) in the 1530s. Finally, in the 1560s, he transformed this unwieldy site into a stately piazza by renovating the Palazzo dei Conservatori. Construction began in 1563, barely a year before his death. Michelangelo reworked an old window design from the Palazzo Farnese (on the nearby plinth) to design a niche within the new palace.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
name: "rock"
location: kiev region
function: mansion
program: 250 sq.m.
architect: dmitry zhuikov
visualization: dmitry zhuikov
name: "rock"
location: kiev region
function: mansion
program: 250 sq.m.
architect: dmitry zhuikov
visualization: dmitry zhuikov
Michelangelo
Black chalk on paper
Michelangelo emphasises St Peter's nakedness and humility as he faces martyrdom. In this preliminary study of the man digging a hole for the upside-down cross, Michelangelo explores alternative positions for the man's arm.
His pose derives from an angel in the Last Judgment, showing Michelangelo's creative reuse of earlier concepts and ideas. The figure was reversed to fit into the final fresco.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
Anonymous engraver, after Antonio da Sangallo the Younger (1484–1546) and Antonio Labacco (about 1495–1570)
Engraving
By the time Michelangelo started work on St Peter's, Bramante's plan had been extensively altered. Construction was underway on an entirely new design by Sangallo. However, Michelangelo felt that Sangallo blocked off too much light, creating a shadowy interior that encouraged 'the hiding of exiles, the coining of base money, the raping of nuns' and other 'rascalities'. Against stiff opposition from Sangallo's workforce, he began yet another design.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
The Epifania, c1550–53
Ascanio Condivi
Oil on wood
Condivi was probably given the Epifania cartoon as a gift in return for writing a flattering biography of Michelangelo in 1553. He was an aspiring artist from a noble family and had worked with Michelangelo for some years. His painting based on the cartoon is hugely ambitious for an inexperienced painter and shows the challenges he faced in interpreting Michelangelo's complex design.
Made on twenty-six joined sheets of paper, Michelangelo's Epifania (Epiphany) is a 'cartoon', a full-scale preparatory drawing used to transfer a composition on to another surface. Cumbersome, prone to damage and much handled, cartoons rarely survive: this is the only complete one that exists from Michelangelo's entire career. Showing the Virgin and Child with St John the Baptist and other unidentified figures, it was made by Michelangelo around 1550 for an apparently abandoned work. In the mid-1550s, he offered the cartoon to his pupil Ascanio Condivi (1525–1574), who developed it into a painting. Both works have recently undergone conservation and are reunited here for the first time since the 1550s.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Study of St Lawrence for the Last Judgment, c1534–6
Michelangelo
Black chalk
[T]his drawing was probably made some time after the compositional sketches, once Michelangelo's ideas had developed. This powerful sheet is a preparatory drawing for the head and body of St Lawrence, an early Christian martyr. In the fresco Michelangelo depicts the martyrs below Christ, holding objects associated with their martyrdom. St Lawrence was roasted on a gridiron, which he carries over his shoulder.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
Crucifixion with the Virgin and St John the Evangelist, c1555–63
Michelangelo
Black chalk and lead white on paper
Michelangelo's Crucifixion drawings explore different emotional responses from the figures below, shown here at a distance from the cross. The Virgin huddles into her crossed arms, conveying her turbulent emotions, while St John raises his hands in an ancient gesture of prayer and wonder. Christ's head has been heavily reworked, making it unclear which of them he is looking at.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Studies for the dome and lantern of St Peter's, with sketches of figures, c1558–59
Michelangelo
Black chalk with stylus
The construction of St Peter's was beset with disputes and practical headaches. By the early 1550s, enough progress had been made that Michelangelo could concentrate increasingly on the dome. This was the hardest, most structurally challenging stage. Here Michelangelo – probably in his late seventies – wrestles with the design. Though he attempted to extricate himself from managing such a vast project and its troublesome workforce, he remained in charge until his death.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]
Taken at the British Museum
name: "megaphone"
location: kiev region
function: country house
program: 75 sq.m.
architect: dmitry zhuikov
visualization: arina ageeva
Crucifixion with the Virgin and St John the Evangelist, c1555–63
Michelangelo
Black chalk and lead white on paper
Michelangelo's Crucifixion drawings explore different emotional responses from the figures below, shown here at a distance from the cross. The Virgin huddles into her crossed arms, conveying her turbulent emotions, while St John raises his hands in an ancient gesture of prayer and wonder. Christ's head has been heavily reworked, making it unclear which of them he is looking at.*
From the exhibition
Michelangelo the last decades
(May – July 2024)
In 1534, Michelangelo left Florence for Rome, never to see his native city again. He was 59, which many contemporaries regarded as old, but for Michelangelo this move marked the beginning of a dramatic new chapter which would fundamentally shape his experiences as an artist and as a man.
This exhibition looked at the last 30 years of Michelangelo's remarkable life, when his return to Rome – having been summoned by Pope Clement VII to paint a fresco of the Last Judgment in the Sistine Chapel – brought him new commissions and reunited him with some of his closest friends.
Having secured his reputation with works including his famous statue of David, Michelangelo was already the most celebrated artist in Europe. But, rather than resting on his laurels, his Christian faith, intellectual engagement and hope for salvation propelled him to produce some of the most striking works of his career. Forceful preparatory drawings for the Last Judgment, which were on show, as well as the monumental Epifania – one of only two surviving cartoons by Michelangelo – demonstrate his renewed energy and desire to challenge himself.
These works were displayed alongside studies for Michelangelo's grand architectural projects as well as drawings, poems and intimate letters that reveal his personal passions and anxieties. Rather than showing an artist in decline, this exhibition showed the astonishing dynamism that Michelangelo brought to his work in the final decades of his life as he explored salvation and confronted his mortality.
[*British Museum]