{"title":"米开朗基罗的《约拿》:多任务研究","authors":"Anthony Apesos","doi":"10.1086/718486","DOIUrl":null,"url":null,"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:","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Michelangelo’s Jonah: A Study in Multitasking\",\"authors\":\"Anthony Apesos\",\"doi\":\"10.1086/718486\",\"DOIUrl\":null,\"url\":null,\"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:\",\"PeriodicalId\":43235,\"journal\":{\"name\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/718486\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOURCE-NOTES IN THE HISTORY OF ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/718486","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
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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