Michelangelo In The New Millennium

Michelangelo in the New Millennium addresses the mobility and flexibility of Michelangelo’s art regarding placement and intention, considers the artist’s late papal painting commissions, and probes deeper into his early religious works.

Michelangelo: A Reference Guide to His Life and Works cover the life and works of Michelangelo Buonarroti. Michelangelo is considered to be one of the greatest masters in history and he produced some of the most notable icons of civilization, including the Sistine Ceiling frescoes, the Moses, and the Pietà at St. Peter’s. Includes a detailed chronology of Michelangelo’s life, family, and work. The A to Z section includes the major events, places, and people in Michelangelo’s life and the complete works of his sculptures, paintings, architectural designs, drawings, and poetry. The bibliography includes a list of publications concerning his life and work. The index thoroughly cross-references the chronological and encyclopedic entries.

In this volume, Emily A. Fenichel offers an in-depth investigation of the religious motivations behind Michelangelo's sculpture and graphic works in his late period. Taking the criticism of the Last Judgment as its point of departure, she argues that much of Michelangelo's late oeuvre was engaged in solving the religious and artistic problems presented by the Counter-Reformation. Buffeted by critiques of the Last Judgment, which claimed that he valued art over religion, Michelangelo searched for new religious iconographies and techniques both publicly and privately. Fenichel here suggests a new and different understanding of the artist in his late career. In contrast to the received view of Michelangelo as solitary, intractable, and temperamental, she brings a more nuanced characterization of the artist. The late Michelangelo, Fenichel demonstrates, was a man interested in collaboration, penance, meditation, and experimentation, which enabled his transformation into a new type of religious artist for a new era.

This study explores the phenomenon of the cults of Raphael and Michelangelo in relation to their death, burial, and posthumous fame—or second life—from their own times through the nineteenth century. These two artists inspired fervent followings like no other artists before them. The affective response of those touched by the potency of the physical presence of their art- works, personal effects, and remains—or even touched by the power of their creative legacy—opened up new avenues for artistic fame, divination, and commemoration. Within this cultural framework, this study charts the elevation of the status of dozens of other artists in Italy through funerals and tomb memorialization, many of which were held and made in response to those of Raphael and Michelangelo. By bringing together disparate sources and engaging material as well as a variety of types of artworks and objects, this book will be of great interest to anyone who studies early modern Italy, art history, cultural history, and Italian studies.

This textbook serves as a comprehensive manual on Optics that includes both didactics and assessment questions in an easy-to-read format. It provides an educational and entertaining resource that reinforces the relevance of the subject matter to modern clinical and surgical ophthalmology practice. The book offers a one-stop compendium for students studying for certification exams and for practicing ophthalmologists to review and learn Optics that will have relevance to their day-to-day practice. Chapters are written in a teaching-oriented style and include hi-yield summaries, 375+ original figures, and 190+ review questions. The book is divided into three areas of focus: Written Exam Preparation Oral Exam Preparation and Clinical Practice Ophthalmic Optics for Surgical Practice Optics for the New Millennium is a must-have resource for ophthalmology residents as well as practicing ophthalmologists with clinical, surgical and testable relevance.

Tales for a New Millennium brings Ovid's Metamorphoses to life on the streets of New York, Rome, and London. The modern gods and goddesses are emblematic of the same blinding forces of power, lust, and hubris that plagued their illustrious predecessors of yore. Each Ovidian transformation reminds readers that they are on the same trajectory as Phaeton as he attempts to steer an uncontrollable, thunderous chariot, which mirrors the pulsating rhythms of life within The Twenty-First Century.

The essays in Space, Image, and Reform in Early Modern Art build on Marcia Hall’s seminal contributions in several categories crucial for Renaissance studies, especially the spatiality of the church interior, the altarpiece’s facture and affectivity, the notion of artistic style, and the controversy over images in the era of Counter Reform. Accruing the advantage of critical engagement with a single paradigm, this volume better assesses its applicability and range. The book works cumulatively to provide blocks of theoretical and empirical research on issues spanning the function and role of images in their contexts over two centuries. Relating Hall’s investigations of Renaissance art to new fields, Space, Image, and Reform expands the ideas at the center of her work further back in time, further afield, and deeper into familiar topics, thus achieving a cohesion not usually seen in edited volumes honoring a single scholar.

Ten authors offer novel accounts of the phenomenon of oil painting on stone surfaces in Northern and Southern Europe, from Sebastiano del Piombo’s invention at Rome in the sixteenth century to the material experimentation of later painters through the seventeenth century.