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... part of a face carved into a slab of marble, located near the market in Norwich.
The carving reminds me of Michelangelo's statue of David in Florence ... flic.kr/p/j48iYT
Created for DIGITALMANIA ~ Mona Lisa's escape
All work done in Photoshop 2024 and MidJourney
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Moses zwischen Lea und Rachel
Rom - San Pietro in Vincoli al Colle Oppio (lateinisch Sancti Petri ad vincula, deutsch St. Peter in den Ketten) liegt am Esquilin-Hügel in der Nähe des Kolosseums
Bekannt ist die Kirche vor allem durch Michelangelos Grabmal für Papst Julius II. mit den Statuen der Rachel, der Lea und des Mose.
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. David is a 5.17-metre (17.0 ft) marble statue of the Biblical hero David, a favoured subject in the art of Florence. (3/1/2019)
From Wikipedia:
Pope Julius II commissioned Michelangelo to build his tomb in 1505 and it was finally completed in 1545; Julius II died in 1513[2] The initial design by Michelangelo was massive and called for over 40 statues. The statue of Moses would have been placed on a tier about 3.74 meters high, opposite a figure of St. Paul.[2]:566 In the final design, the statue of Moses sits in the center of the bottom tier.
The depiction of a horned Moses stems from the description of Moses' face as "cornuta" ("horned") in the Latin Vulgate translation of the passage from Exodus in which Moses returns to the people after receiving the commandments for the second time.[10] The Douay-Rheims Bible translates the Vulgate as, "And when Moses came down from the mount Sinai, he held the two tables of the testimony, and he knew not that his face was horned from the conversation of the Lord."[11] This was Jerome's effort to faithfully translate the difficult, original Hebrew Masoretic text, which uses the term, karan (based on the root, keren, which often means "horn"); the term is now interpreted to mean "shining" or "emitting rays" (somewhat like a horn).[12][13] Although some historians believe that Jerome made an outright error,[14] Jerome himself appears to have seen keren as a metaphor for "glorified", based on other commentaries he wrote, including one on Ezekiel, where he wrote that Moses' face had "become 'glorified', or as it says in the Hebrew, 'horned'."[6]:77[9]:98–105 The Greek Septuagint, which Jerome also had available, translated the verse as "Moses knew not that the appearance of the skin of his face was glorified."[15] In general medieval theologians and scholars understood that Jerome had intended to express a glorification of Moses' face, by his use of the Latin word for "horned."[6]:74–90 The understanding that the original Hebrew was difficult and was not likely to literally mean "horns" persisted into and through the Renaissance.[16]
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Michelangelo's David is the most famous sculpture in the Galleria dell' Accademia di Firenze (Gallery of the Academy in Florence). Tickets for the museum (rather expensive) are best bought in advance.
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a masterpiece of Renaissance sculpture created between 1501 and 1504, by Michelangelo.
Michelangelo Square in Florence, Italy (Piazzale Michelangelo, Firenze, Italia)
Rising to an unprecedented height of 137 meters (448 feet), the dome of St. Peter’s is the tallest in the world. The dome is an impressive 41 meters (136 ft) wide, although its span is slightly smaller than that of the Pantheon in Rome and the Florence Cathedral. Initially conceived by Bramante as a synthesis of both these precedents, the dome went through several major changes in design with each new capomaestro. Ultimately, it was Michelangelo’s redesign that became the final iteration, drawing on all that had gone before, including the implementation of a double-shell brick dome like that of the Florence Cathedral. The rather ovoid shape of the dome’s sixteen outer ribs dramatically reduces any outward lateral thrust, thus sufficiently directing much of the load onto the enormous four piers at the center of the basilica. On its visual design, Gardner once again aptly commented, “The sculpturing of architecture … here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit.” While it can be cynically generalized that Michelangelo’s design for the dome ultimately looked backward at ancient and gothic precedents, it nevertheless heralded the architecture of the Baroque movement more than any other previous works.
As the visual focal point of the entire landscape piece, the dome was the first aspect of this project I tackled. Previously, I had designed the equally pioneering domes of Hagia Sophia and Santa Maria del Fiore, however, the shallow depth of the former and the faceted shape of the latter ruled out any similarity to the dome of St. Peter’s at the outset in their LEGO construction. The dramatic 200-ft outer diameter of the rotunda called for a 14-stud scale equivalent in the model. With so much room for internal connections to work with (relative to my other microscale works), I ended up using several 43mm-diameter wagon wheels to allow for thirty-two connection points at multiple levels along the vertical central axis. Therefore, in the spirit of superfluousness, my model’s thirty-two-sided interpretation of the dome of St. Peter’s is actually a triacontadigon!
The Rondanini Pietà is a marble sculpture that Michelangelo worked on from 1552 until the last days of his life, in 1564. Several sources indicate that there were actually three versions, with this one being the last. The name Rondanini refers to the fact that the sculpture stood for centuries in the courtyard at the Palazzo Rondanini [it] (also known as Palazzo Rondinini) in Rome. Certain sources point out that biographer Giorgio Vasari had referred to this Pietà in 1550, suggesting that the first version may already have been underway at that time. The work is now in the Museo della Pietà Rondanini that was inaugurated in 2015 at Sforza Castle in Milan.
This final sculpture revisited the theme of the Virgin Mary mourning over the emaciated body of the dead Christ, which he had first explored in his Pietà of 1499. Like his late series of drawings of the Crucifixion and the sculpture of the Deposition of Christ intended for his own tomb, it was produced at a time when Michelangelo's sense of his own mortality was growing He had worked on the sculpture all day, just six days before his death.
The Rondanini Pietà was begun before The Deposition of Christ was completed in 1555. In his dying days, Michelangelo hacked at the marble block until only the dismembered right arm of Christ survived from the sculpture as originally conceived. The elongated Virgin and Christ are a departure from the idealised figures that exemplified the sculptor's earlier style, and have been said to bear more of a resemblance to the attenuated figures of Gothic sculpture than those of the Renaissance. Some also suggest that the elongated figures are reminiscent of the style used in Mannerism.
The unfinished quality of the work fits with Michelangelo's late progress away from naturalism and humanism and toward a mystical Neoplatonism, in which he conceived of a sculpture as latent in the marble and requiring merely the removal of superfluous material; in this manner, he seems to have deprived his human symbols of corporeal quality in an attempt to convey directly a purely spiritual idea.
It has also been suggested that the sculpture should not be considered unfinished, but a work in a continuous process of being made visible by the viewer as he or she moves around to see it from multiple angles.
South African visual artist Marlene Dumas based her 2012 painting Homage to Michelangelo on the Rondanini Pietà.
Part of The Rosette Nebula, cropped from the full frame.
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Focal length 1180mm
Image scale 1.57"/pix
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