| Papers [1-12] of 12 | Search results on "PIETA": |
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Michelangelo's Pietas, 2005.
This paper examines the differences and similarities between two of Michelangelo's most acclaimed Pietas.
1,125 words (approx. 4.5 pages), 4 sources, $ 44.95
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Abstract
The paper takes a close look at the differences between two of Michelangelo's most acclaimed Pietas: the Vatican Pieta found in Saint Peter's Basilica and the Florentine Pieta found at the sculptor's tomb. The paper studies the difference in technique and intent in the two works. The paper also examines the social and atmospheric changes during the sixty years between the Pietas.
From the Paper
"In "Swan Songs," an academic article on art and the aging process, scholar and critic Steven Kellman observes that Solomon, the Biblical ruler and writer of old wrote the "Song of Songs" in lusty youth, "Proverbs" in prudent middle age and "Ecclesiastes" as the mellow fruit of his final years. If ancient Solomon had verily believed that all is vanity, he would never have bothered to lift quill to vellum. Yet tradition says that he did magnificently, in an autumnal way, if only to bemoan the futility of it all. Of making books there is no end, laments "Ecclesiastes," but many of the brightest books are made in sight of the finish line (Kellman 111). So, too, can we see this autumnal, end-of-life spark and sparkle in the sculptures of the not-so-ancient Michelangelo Buonarotti."
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Carlo Crivelli?s "Pieta", 2002.
A look at how artist Carlo Crivelli's painting follows the conventions of a typical pieta.
1,416 words (approx. 5.7 pages), 4 sources, APA, $ 47.95
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Abstract
A pieta is described as a painting or sculpture of the body of the dead Christ being supported by the Virgin, often with other mourners present. This paper analyzes how the painting "Pieta" follows the conventions of a pieta by depicting all of the above. The paper shows too how Crivelli?s own unique style is apparent in the work, seen in the attention to detail and the gothic elements. This style of Crivelli?s is related to his own background as an artist. By looking at the artwork further, the paper shows how the work is a reflection of Crivelli?s background and influences as well as a product of the cultural context at the time of its creation during the Italian Renaissance.
From the Paper
"Another aspect of the Renaissance that is apparent in Crivelli's work is the focus on religion. It has been noted that, ?While the political power of the church declines during the Renaissance... the Renaissance artists, remained devout Catholics.? This aspect meant that biblical scenes continued to be popular subjects for paintings. This is reflected in Crivelli?s work with all of his works being religious in nature. As in the example Pieta, Crivelli maintained the religious subject but changed the way it was approached, adding his own perspective to the work, just as the trend was in Renaissance."
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Michelangelo's "Pieta" and Bernini's "Saint Teresa", 2006.
An exploration of the similarities and differences in Michelangelo's "Pieta" and Bernini's "Ecstasy of Saint Teresa."
1,107 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper compares one of the greatest works of renaissance art, Michelangelo's "Pieta," with a superb example of the complexity of baroque art, Bernini's "Saint Teresa in Ecstasy." The writer explains the Neo-Platonist and humanist influences on Michelangelo and his "Pieta," and describes the sculpture in its moving simplicity in detail. The writer then explains how Bernini's statue combines the baroque emotion with counter-reformation mysticism. The paper concludes that both Michelangelo and Bernini were masters of their craft, bringing life to cold marble and bronze, with different styles of expressing their veneration for God.
From the Paper
"However, apart from earlier religious works, Michelangelo's sculpture had an unmistakable air of humanism. A recurring theme in renaissance art, humanism was fueled by a renewed interest in the individual, under the idea that humanity is a miracle, and you glorified god by portraying his creations in a beautiful manner. This led to much more realistic depictions of the world, the figures of medieval art becoming more three-dimensional, and less homogeneous. The Pieta is an excellent example of this new way of viewing the world, as it was wholly life-sized, and made to be viewed in the round, all sides available to be seen."
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The "Pieta".
This paper explores Michelangelo's "The Pieta" and the relationship of Mary to the Catholic faith.
1,060 words (approx. 4.2 pages), 2 sources, APA, $ 37.95
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Abstract
This paper explains that Michelangelo had a remarkable understanding of Mary; in his sculpture, "The Pieta," he shows Mary, eternally young, cradling the body of her dead son, Jesus. The author points out that Michelangelo never intended to create a literal interpretation, but rather to show Mary's transcendence and her ultimate understanding that, without her joy and her loss, the birth and death of her son, there would be no salvation. The paper concludes that one of the biggest lessons of Mary, as depicted in "The Pieta," is that real faith means still believing when reason tells an individual that all hope is gone.
From the Paper
"Mary's experience is almost incomprehensible. She becomes pregnant in a way completely unintelligible to anyone, but an angel tells her she carries the Son of God -- while she is alone, with no witnesses -- and she believes it. Presumably she has to go to her husband-to-be, Joseph, to tell him she is pregnant -- but still a virgin, never having laid with any man. Apparently, Joseph, demonstrating great faith, also believes her. Then she has to raise this wonderful child who dazzles the rabbis in the temple, knowing that God will take Him back. When he does, Jesus dies a terrible, drawn-out and agonizing death. After his death, we see in "The Pieta" that Mary cradles him in her arms, across her lap."
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Michelangelo's "Roman Pieta", 2005.
A study of how Michelangelo's sculpture, the "Roman Pieta" in Florence, combines the best of his artistic ability.
2,158 words (approx. 8.6 pages), 6 sources, MLA, $ 67.95
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Abstract
Michelangelo is important to the Renaissance movement primarily because of how he changed they way art and artists were perceived. His innovative ideas forced the public to reconsider the quality of art and what it meant to them. This paper discusses how his sensitivity to the human experience allowed him to break free from conventional standards and set a few of his own. It points out that his insight was not mistaken and nothing demonstrates this fact more than his "Roman Pieta" does. This statue embodies Michelangelo's passion for art, perfection, and something new and different all at the same time. His remarkable depiction of Mary as a beautiful young woman gripped by peacefulness rather than horror is its most indelible quality. It explains that the combination of grief and serenity held in Mary's expression is beyond words. With this carving, we find a self-contained form that is restrained and yet filled with flowing lines. The writer concludes that in it lies a world of balance between the vertical and horizontal aspects, life and death, clothed and naked, and grace and grief.
From the Paper
"Michelangelo is also significant to his time because he forced the public to "reevaluate its view of artists" (8). Prior to Michelangelo's arrival, artists were not held in the highest regard. In fact, many were seen as nothing more that mere craftsmen. It was the renown of Michelangelo and his work that elevated the perception of artists. Michelangelo thought highly of artists and believed that they are "superhuman and should not be judged by ordinary standards" (8). He was blessed in that he received great fanfare while he was living and was even alive when the biography about him was published. This style influenced many Renaissance artists so much that they traveled from almost everywhere in Europe to study his technique. It is worth noting that his style is still imitated today. His contributions to the art world changed art and what it meant."
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The "Pieta", 2008.
An analysis of the pyramidal aspects of Michelangelo's "Pieta" and the Christian iconography of the Holy Trinity within it.
1,125 words (approx. 4.5 pages), 4 sources, APA, $ 38.95
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Abstract
This paper presents a formal, iconographic and historical analysis of the "Pieta" by Michelangelo. It defines the pyramidal aspects of the sculpture's composition and the Christian iconography of the Holy Trinity. It also looks at the historicity of the piece as it relies on classical and natural stylization that were in line with Michelangelo's humanist perspectives for Mary after Jesus was crucified.
From the Paper
"This aspect of critical commentary is revealed through the objectives of Michelangelo to create a sculpture that would echo the divine nature of Christ, yet with the humanist values of naturalism that he espoused in depiction of human relationships. The divine nature of Christ and Mother reflect the unity of religious vision with Mary sorrowfully looking down on her dead son, yet they are both keenly aware of the significance of the Passion and the Crucifixion. This aspect of the iconography of the sculpture dictates the human suffering involved in Christi's life on earth, yet with the divine serenity of peace on his face with the realization that he has fulfilled his promise to humankind (Hibbard, 1985, p.270). This is the humanist Christian iconography that emulates a divine relationship between mother and son, but not without the deified presence of Christ fulfilling his redemption of sin for humankind by his crucifixion."
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Michelangelo's Masterpiece "Pieta", 2001.
This paper looks at the artistic qualities of this work.
1,500 words (approx. 6.0 pages), 9 sources, MLA, $ 49.95
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Abstract
This paper presents a detailed discussion about the four representations of the Pieta. The writer of this paper uses words to describe the artistic differences in the representations. The writer works to not only uncover the obvious structural differences but to ascertain what the differences in their meanings may be as well.
From the Paper
"Michelangelo has always been viewed as one of the most talented artists in history. His works have sustained the test of time and today are still accepted as some of the most telling and touching pieces of art that patrons have available to them. One of his most famous works is the Pieta. The Pieta has four renowned versions of its portrayal and each one has similarities as well as differences to the other three. As the different styles and pieces are examined it is easy to see why Michelangelo has held his place as one of the most tortured yet talented artists of all time."
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The Life and Works of Michelangelo, 2002.
The life and work of the Renaissance artist, Michelangelo Buonarroti, and the technique and significance of his works.
1,868 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper is primarily a biographical report of Michelangelo's almost 90-year-long life from his grim childhood to the early influence of the Medici family to his commission to sculpt the "David" and paint the Sistine Chapel. Also included are photos of his sculptures "Bacchus", "Pieta", "David", "Rondanini Pieta" and his paintings on The Sistine Chapel.
I.Introduction
II.Body
A.Michelangelo?s Early Life
B.Bacchus and Pieta
C.David
D.The Sistine Chapel Ceiling
E.The Tomb of Julius II
F.The Medici Tombs
G.The Last Judgment
H.Michelangelo?s Final Years
III.Conclusion
From the Paper
"One of the greatest artists of all time, a man whose name has become synonymous with the word "masterpiece", is Michelangelo Buonarroti. As an artist he was nearly unmatched; the creator of works of true beauty that express the full extent of the human condition. Yet, in a world where art flourished only with patronage, Michelangelo was caught between the conflicting powers and whims of the Medici family in Florence, and the Papacy in Rome. Unlike many artists of his time, his genius was recognized, but at a seemingly great cost to his personal life."
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"Aeneid", 2007.
An analysis of the three parts of Virgil's epic, "Aeneid".
3,265 words (approx. 13.1 pages), 4 sources, MLA, $ 93.95
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Abstract
This paper discusses Virgil's "Aeneid" and the interplay of the sovereignties of pietas and furors. The paper shows how the epic consists of three levels of conflict: that between Jupiter, who symbolizes fate and Juno who represents counter-fate, between Aeneas and his own internal or psychological action, and lastly between Aeneas and the impii, pietas and furor, between pious acceptance and impious rebellion against fate. The paper discusses the motivation behind Virgil's epic.
From the Paper
"Virgil's primary motivation behind his epic may be to portray his beloved Rome in glory, but in doing so he exemplifies the struggle between the impulses of both the divine and mortal in their conflict for supremacy. The epic's superficial story is the journey of the Trojans and Aeneas, who were able to overcome the fall of Troy, the opposition from the divine powers above and creating a new beginning for their race. The internal poem however, gives way to a much more profound meaning, portraying the death and rebirth, in which destructive furor is overcome by the moral activity of a divinized and resurrected hero, Aeneas. The correlation between the cosmic power of fate and counter-fate, and the accompanying struggle of human reaction is not only a superficial inconsistency between high divinities or mortal men, but on a deeper level symbolize in Virgil's epic the struggle between chaos and order, light and darkness, good and evil, or more importantly, accepting what God has laid out for you or refuting it."
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Aeneas as a Leader, 2004.
An analysis of the efficacy of Aeneas as a leader in books I,III and V of Virgil's "Aeneid".
1,937 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
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Abstract
The paper starts with an examination of Aeneas's leadership skills in Book II of Virgil's "Aeneid, which are still at a very early stage. It looks at how, by the time he finds a group gathered for him to lead at the end of the Book III, his pietas and duty begin to force him into this responsible role. It also explores how, by the end of Book V, he is less desperate and panicky and it picks up on his examples of fairness and decisiveness.
From the Paper
"One of the most outstanding features of the Aeneid is the subtle but convincing development of Aeneas' character throughout the twelve books. A factor in this development is his position as leader of the surviving Trojans and his mission to lead them to the site of Rome. In Books I-VI, Virgil thus charts the process by which Aeneas becomes a true leader of men, ready for the war in the second half of the epic. The hero must become an established leader in the story before Virgil can begin his maius opus (VII.45), and Books II, III and V contain the main stages and turning points in the development of the leader. It should also be noted here that in these Books Virgil concentrates, as is his habit, on the political aspects of leading a group of people, rather than leadership in a military sense."
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Michelangelo, 2002.
An overview of the qualities in artist, Michelangelo which made his work so famous.
1,400 words (approx. 5.6 pages), 10 sources, $ 53.95
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Abstract
Dante's poetry and Michelangelo's art were defended in very similar terms. At least one of Dante's defenders compared him explicitly to Michelangelo. For Michelangelo, the body's beauty is the way into the soul. Nature and antiquity were touchstones for Michelangelo. Michelangelo's last sculpture, his Pieta, has long stood out as his most emotional and ethereal work. Michelangelo's roughly chiseled last sculpture shows a strong gravitational pull. Furthermore Michelangelo intended the work to be erected on his own tomb. Secrets, dissections, crime, commission, and absolute passion for his work all mark Michelangelo's work.
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Pius Aeneas, 2003.
Discusses the kingly virtues that are exhibited through the protagonist, Aeneas, in the ancient Roman work, Virgil's "Aeneid".
1,500 words (approx. 6.0 pages), 2 sources, MLA, $ 49.95
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Abstract
Aeneas, a Trojan prince, is destined to become founder to a city that his descendants will develop into the great Roman Empire. Aeneas exhibits Roman values that make him the ideal Roman ruler throughout Virgil?s "Aeneid". Among these values is pietas (attention to duty, community, and family), courage (bravery), self-discipline, and finally, humanitas (compassion). This essay provides quotes from Virgil's "Aeneid" to show these virtues, with background testimony from Francis Cairn, a notable author of ancient Roman lore and epics.
From the Paper
"Aeneas now loses his kingly qualities by not being mindful of his pietas and completely surrendering to emotion. Francis Cairn in ?Aeneas and the Love Affair of Dido? asserts that Aeneas was not concerned with his duty, by stating that Aeneas had, ?put his kingdom out of his mind and is enslaved to lust, lacking the royal virtues of self control and care for his people? (Cairns 49). This is proven by the way Aeneas lounges around all winter and does not pay attention to his fated duty. Jupiter, the god of thunder and hospitality gets upset with Aeneas, and sends Mercury the messenger god to remind him of his duty."
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