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FAH230H1 (65)

Art in Rome Under Pope Julius II

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Jenny Carson

FAH230H1 Week 10 Nov 21 2011MichaelangeloRaphael High Renaissance in Romend2 half of lectureMichaelangelo Sistine Chapel date Most likely Michaelangelo worked with another humanist to come up with humanistic programworked from back to close to altar figures changed throughout time got biggermore rusticSeparation of Dark from Light closeupCreation of Adamhuman nudeignudehold medallions painted to look like bronze were commissioned by familyProphets Isiaih and Jeremiahprophets thinking melancholic poseSibyls Cumaean and Libyanvery muscular womenscenes that show the salvation of IsraelThe Brazen Serpentparallels with the crucifixion of Christ drama portrayed thorugh the use of foreshorteningtwisting figures different from QuattroCentro paintings previouslyfictive architecturetowards end of wall more illusionismhistory painting should incorporate many figuresas many narratives as possible As the work progressesfigures become largermore focalized even tighter use of space as the paintings progress More psychological chargewhile da Vinci focuses on tone Michaelangelo more on colourChrists future coming is celebrated by the prophets and sibyls surrounding him foreshadows Israels salvationnot one interpretation of the ceiling is really conclusivewhy did he choose to include scenes such as The Drunkenness of NoahRaphael The School of Athenspaced in a rather strange setting
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