CHAPTER 1 Theory and Practice: ●Michelangelo rarely reflected in writing on creative process. ●M’s career as a marble sculptor ●Superiority of painting over sculpture on merits that it required less manual labor. ●M - painting seems to me best when it resembles a relief and relief is all the worse when it resembles a painting. ●Sculpture takes not only great strength and physical dexterity but also superb visual acumen to avoid miscalculating dimensions when subtracting material ●Varchi’s second lecture in Due Lezzioni considered the mental difficulty and physical effort of the sculptor’s process. Disegno as the origin, the source, and “the mother” of sculpture and painting. ●M a hero in Doni’s Disegno. ●Doni assumed the superiority of marble sculpture. ○God made man first of sculpture. ○Work in sculpture is harsh, difficult, laborious, and full of privation. ○Architecture as much in common with sculpture ○Sculpture possesses eternal permanence and tactile quality which engaged the mind and the senses = nobler and superior to painting ●Doni ---- Disegno - is the industry of the intellect, enacting the execution of the work with its power… Disegno is not anything other than divine theory. ●Vasari called Disegno the “father” of the three major arts - architecture, sculpture, and painting. ●Disegno originated in intellect which it derives the knowledge not only of the bodies of men and animals, but also plants, buildings, sculpture, and painting. ●Cognizant of the proportion of the whole to its parts and that the parts in relation to one another and to the whole. Disegno is a visible expression and statement of the concept in the soul (animo) and of other things that the mind has imagined and shaped in the idea. ●Disegno as draftsmanship and creative idea, was central to both M’s and Vasari’s work. Disegno and Printmaking ●M showed no interest in associating with printmakers and did not produce design drawings expressly for prints. His most iconic works produced for the elite. ●Prints created a market. ●Prints could not replicate the expressive effected created by the varying pressure of his hand on the paper, the vigorous, yet highly subtle, tonal rhythms in the outlines of his forms and the ineffably blended modeling that are the essence of his chalk drawings Authorship “By His Hand”: Drawing and Writing ●Di sua mano - legal contracts between artists and their patrons to ensure that the work was by the commissioned artist’s hand.
●Given the monumental scope of many of M’s projects, the clause di sua mano is actually rare in his contracts. CHAPTER II: The Young Artist and the Traditions of Fifteenth-Cent. Art Vasarian - from Vasari - an Italian painter / architect / art historian To understand M’s artistic production before and after 1500 - resist looking at his work as young artist through the lens of 16th cent. art Highlighted his debts to antique sculpture and the heroic phase of Italian art led by: Giotto, Donatello, Masaccio, Filippo Brunelleschi, and Jacopo della Querica while self consciously diminishing the strong influence of late 15th c.