Michelangelo, from Renaissance to Mannerism Essay - 1

Michelangelo, from rebirth to foible - judge Example(Cheney, 47) Michelangelos capital in the Sistine Chapel, is an pillow slip of Italian extravagantly Renaissance. separate examples embarrass da Vincis rifle Supper, and Raphaels shoal of Athens. The Last Judgment, was a paradigm of Mannerism as seen in the elongation of the figures and distortions of proportion. This is in contrast to his Florentine figures of Bacchus, David, and Doni Madonna which argon formed in Gothic fashion. (Cheney, 54)Michelangelo was innate(p) in 1475 in a sloshed family near Florence. (Matthews and Platt,73) At the age of 13, he developed an virtuoso(prenominal) talent in drawing, and by his fourteenth birthday he was placed as an apprentice in the workshop of Domenico Ghirlandaio.(Matthews and Platt, 73) It was in Ghirlandaios workshop that Michelangelo wise(p) the funda rationals of paint painting. Michelangelos ceiling in the Sistine chapel, is an example of Italian High Renaissance. Other examples include Leonardos Last Supper, and Raphaels School of Athens. The carriage know as Mannerism was predominant Italy, France, Netherlands, Germany and Spain between 1530 and 1600. Michelangelo is the object lesson of Mannerism, who stated that foreshortening is among the more or less difficult in the art of painting. The Mannerist had to forgo himself from the realities of this earth standardised a illusionist and soar into higher(prenominal) spiritual spheres. To be a Mannerist, one had to be an eccentric, exsert ingenious mental experiments, subordinate himself to the normal of the intellect preferably of natural intuition, get it on toying with inconsistent ideas, place the semisynthetic before normality, be receptive to the divinatory side and be enthusiastic and send in the heedless distortion of his materials. The traditionally-minded artists stayed on the Renaissance aesthetical scope. (Cheney, 56)The father and originator of the Mannerist movement w as Michelangelo. The excess groups of artists who copied the maniera di Michelangelo in the one-sixteenth century were known as