Michelangelo’s Jonah: A Study in Multitasking

IF 0.2 3区 艺术学 0 ART SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-09-01 DOI:10.1086/718486
Anthony Apesos
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引用次数: 0

Abstract

The most memorable moment of Michelangelo Buonarroti’s Sistine Chapel ceiling is, for most—possibly all—modern viewers, the creation of Adam. The vital distance between the hands of God and the first man is one of Michelangelo’s most potent inventions. Yet sixteenth-century commentators on the ceiling were struck more powerfully by the figure of the prophet Jonah (fig. 1) over the altar wall. Vasari expressed his admiration for the way the figure tips away from the actual surface on which it is painted, which itself tips toward the viewer:
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米开朗基罗的《约拿》:多任务研究
米开朗基罗·博纳罗蒂(Michelangelo Buonarroti)的西斯廷教堂(Sistine Chapel)天花板最令人难忘的时刻,可能是对大多数现代观众来说,亚当(Adam)的创造。上帝之手和第一个人之间的重要距离是米开朗基罗最有力的发明之一。然而,16世纪天花板上的解说员对祭坛墙上的先知约拿(图1)的形象印象更深刻。瓦萨里表达了他对这幅画的倾斜方式的钦佩,因为它偏离了画的实际表面,而实际表面本身是朝向观众的:
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.10
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0.00%
发文量
20
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