"Michelangelo" Quotes from Famous Books
 ... of the Renaissance, which derived its inspiration solely from those periods of Greek and Roman art which were pre-occupied with the expression of external reality. Although the all-embracing genius of Michelangelo kept the "Symbolist" tradition alive, it is the work of El Greco that merits the complete title of "Symbolist." From El Greco springs Goya and the Spanish influence on Daumier and Manet. When it is remembered that, in the ...
— Concerning the Spiritual in Art • Wassily Kandinsky
... well-known portraits by Reynolds of Georgiana, duchess of Devonshire. Other paintings are ascribed to Holbein, Durer, Murillo, Jan van Eyck, Dolci, Veronese and Titian. Hung in the gallery of sketches there are some priceless drawings attributed to Michelangelo, Leonardo da Vinci, Raffaelle, Correggio, Titian and other old masters. Statues by Canova, Thorwaldsen, Chantrey and R.J. Wyatt are included among the sculptures. In the state apartments the walls and window-panes are in some cases inlaid ...
— Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 1 - "Chtelet" to "Chicago" • Various
... can be overdone. In Rome, along at first, you are full of regrets that Michelangelo died; but by and by, you only regret that you didn't see him ...
— Innocents abroad • Mark Twain
... while yet the light that shone in them was crescent. That the world should know Marlowe and Giorgione, Raphael and Mozart, only by the products of their early manhood, is indeed a cause for lamentation, when we remember what the long lives of a Bach and Titian, a Michelangelo and Goethe, held in reserve for their maturity and age. It is of no use to persuade ourselves, as some have done, that we possess the best work of men untimely slain. Had Sophocles been cut off in his prime, before the composition of "Oedipus"; ...
— Percy Bysshe Shelley • John Addington Symonds
... to be remarkable from several points of view; how no one had seen it nor knew the precise site of the studio in which it was being vigorously though secretly confected; how (in answer to a suggestion) this shyness was common to the Admiral, Michelangelo, and others; how they (Dick and Van Tromp) had struck up an acquaintance at once, and dined together that same night; how he (the Admiral) had once given money to a beggar; how he spoke with effusion of his little daughter; how he had once borrowed money to send her a doll - a trait worthy of ...
— Tales and Fantasies • Robert Louis Stevenson
... dream: "The King-Messiah came, a glorious and majestic old man, took me in his arms, and swept off with me on the wings of the wind. On one of the iridescent clouds we encountered the figure of Moses. The features were those familiar to me out of my childhood in the statue by Michelangelo. The Messiah called to Moses: It is for this child that I have prayed. But to me he said: Go, declare to the Jews that I shall come soon and perform great wonders and great deeds for my people ...
— The Jewish State • Theodor Herzl
... fallen upon him after all his afflictions. He would loll through half his days among the tombs on the Via Latina, or would loiter for hours and hours along the Appian Way. It took him weeks to summon energy to visit S. Pietro in Vincoli, although he knew that Michelangelo's "Moses" was there, and though he was weary with longing to see it. All the tense chords of Ibsen's nature were loosened. His soul was recovering, through a long and blissful convalescence, from the aching ...
— Henrik Ibsen • Edmund Gosse
... Pio Rajna has shown, "the rifacimento of two earlier popular poems," was written to amuse Lucrezia Tornabuoni, the mother of Lorenzo de' Medici, and that it was recited, canto by canto, in the presence of such guests as Poliziano, Ficino, and Michelangelo Buonarotti; but how "it struck these contemporaries," and whether a subtler instinct permitted them to untwist the strands and to appraise the component parts at their precise ethical and spiritual value, are questions for the exercise of the critical imagination. ...
— The Works of Lord Byron, Volume 4 • Lord Byron
... modern exemplar of the grand style. It is because his art is so old that it was "too new" for even Corot to understand it; because he harked back beyond the pseudoclassicism of his time to the great art of the past, and was classic as Phidias and Giotto and Michelangelo were classic, that he seemed strange to his contemporaries. In everything he was conservative. He hated change; he wanted things to remain as they had always been. He did not especially pity the hard lot of the peasant; he considered it ...
— Artist and Public - And Other Essays On Art Subjects • Kenyon Cox
... is not vice: it is as good to me as it was to Caesar, Alexander, Michelangelo and Shakespeare. It was first of all made a sin by monasticism, and it has been made a crime in recent times, by the Goths—the Germans and English—who have done little or nothing since to refine or exalt ...
— Oscar Wilde, Volume 2 (of 2) - His Life and Confessions • Frank Harris
... when Julius Caesar ushered in an age of light; and second, when Columbus, child of Genoa, the same city that mothered Mazzini, sailed the seas. The first Italian Renaissance we call the Age of Augustus; the second, the Age of Michelangelo. ...
— Little Journeys to the Homes of the Great, Volume 9 - Subtitle: Little Journeys to the Homes of Great Reformers • Elbert Hubbard
... misdeeds his terrible son Cesare was responsible, but of others the pope cannot be acquitted. The one pleasing aspect of his life is his patronage of the arts, and in his days a new architectural era was initiated in Rome with the coming of Bramante. Raphael, Michelangelo and Pinturicchio all worked for him, and a curious contrast, characteristic of the age, is afforded by the fact that a family so steeped in vice and crime could take pleasure in the most ...
— Project Gutenberg Encyclopedia
... trees whose ramifying roots extend in all directions. Man is seen wresting from her stone and precious metals. Wonderfully has Robert Aitken worked out the Mother Earth idea. She has brought forth many times and yet is ever young. It is keenly interesting to look at "Earth" and then at Michelangelo's "Night" to ...
— Sculpture of the Exposition Palaces and Courts • Juliet James
... cruel, dignified, reverential, magnificent, but all with an exuberance of life and power that gave to Italian art its great place in human culture. The great names of the period speak for themselves,—Michelangelo, Raphael, Botticelli, Titian, Leonardo da Vinci, Andrea del Sarto, Machiavelli, Benvenuto Cellini, and ...
— Furnishing the Home of Good Taste • Lucy Abbot Throop
... of prints from the works of Michelangelo, it is impossible to secure any wide variety, either in subject or method of treatment. We are dealing here with a master whose import is always serious, and whose artistic individuality is strongly ...
— Michelangelo - A Collection Of Fifteen Pictures And A Portrait Of The - Master, With Introduction And Interpretation • Estelle M. Hurll
... Botticelli, in that essay which first interpreted Botticelli to the modern world, Pater said, after naming the supreme artists, Michelangelo or Leonardo: ...
— Figures of Several Centuries • Arthur Symons
... universally accepted and approved. After the flight of the Medici in 1494, the bronze group of Donatello Judith with the dead Holofernes was taken from their collection and placed before the Palazzo della Signoria, on the spot where the 'David' of Michelangelo now stands, with the inscription, 'Exemplum salutis publicae cives posuere 1495. No example was more popular than that of the younger Brutus, who, in Dante, lies with Cassius and Judas Iscariot in the lowest pit of hell, because of his treason to the empire. Pietro Paolo Boscoli, whose ...
— The Civilization of the Renaissance in Italy • Jacob Burckhardt |
