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| 2009/08/01 02:19:42瀏覽1470｜回應2｜推薦2 | |
by Michelangelo, ca. 1516, red chalk, 8 x 6Y. Collection Ashmolean Museum, Oxford, England. This drawing suggests the influence of Leonardo," says Rubenstein. "It's more tonal and delicate than many of his other drawings." His Sistine Chapel ceiling is one of the most celebrated feats in art history, but those interested in drawings focus on the more than 90 chalk-and-ink works Michelangelo Buonarotti (1475~1564) made in preparation for this and other commissions. More than one artist have drawn the parallel between this Italian master's work and the fantastical, muscle-bound forms in comic books. But if any aspiring draftsman over the last 50 years has approached the rippling human anatomy in comics with admiration, he has come to Michelangelo's work with awe. "With his mastery of painting, sculpture, and the architectural, no artistowith the possible exception of Leonardoowas more technically gifted," says Rhoda Eitel-Porter, the head of the department of drawings at the Morgan Library, in New York City. "His figures are always exerting themselves," observes Rubenstein. "They are striving for something but are bound. All the muscles are tensed simultaneously, which is anatomically impossible, but deeply poetic. Michelangelo made a landscape of the human body." The reason is logical: Michelangelo was a sculptor. The separation between the tactile and the visual is broken down; the artist sees and draws in three dimensions. "Michelangelo understands that a particular muscle is egglike in character, and he goes after that shape with his chalk," Rubenstein says, pointing out that the marks on his drawings increasingly home in on more finished areas of the form in a manner that parallels the chisel lines on an unfinished sculpture. The artist placed rough hatches in some places, more carefully defining crosshatching in others, and polished tone in the most finished areas. Michelangelo's work is marked by two other traits: his almost complete dedication to the male nude, and the omnipresent sensuality in his art. Even female figures in his pieces were modeled after men, and even his drapery was sensual. "He could say everything he wanted to say with the male nude," observes Rubenstein. "He was not distracted by anything elseonot landscapes, not still fifes, not female nudes. With the exception of his architecture, Michelangelo was monolithically focused on the male nude, and even in his buildings, parallels could be made to the body." Resources Michelangelo Drawings: Closer to the Master, by Hugo Chapman (Yale University Press, New Haven, Connecticut) Lessons From Michelangelo, by Michael Burban (Watson-Guptill Publications, New York, New York)
by Michelangelo, ca. 1511, red chalk heightened with lead white, 11 x 8h. Collection Teylers Museum, Haarlem, the Netherlands. Rubenstein points out that the marks on Michelangelo's drawings home in on more finished areas of the form in a manner that parallels the chisel marks on an unfinished sculpture. Michelangelo placed rough hatches in some places, more carefully defining crosshatching in others, and polished tone in the most finished areas. |
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