Michelangelo Quotes

Quotes tagged as "michelangelo" Showing 1-30 of 43
Michelangelo Buonarroti
“If you knew how much work went into it, you wouldn't call it genius. ”
Michelangelo Buonarroti

Criss Jami
“Authors can write stories without people assuming that they are autobiographies, but songwriters and poets are often considered to be the characters in their works. I like Michelangelo's vision, 'I saw the angel in the marble and carved until I set him free.”
Criss Jami, Salomé: In Every Inch In Every Mile

Mark Twain
“Homer, in the second book of the Iliad says with fine enthusiasm, "Give me masturbation or give me death." Caesar, in his Commentaries, says, "To the lonely it is company; to the forsaken it is a friend; to the aged and to the impotent it is a benefactor. They that are penniless are yet rich, in that they still have this majestic diversion." In another place this experienced observer has said, "There are times when I prefer it to sodomy." Robinson Crusoe says, "I cannot describe what I owe to this gentle art." Queen Elizabeth said, "It is the bulwark of virginity." Cetewayo, the Zulu hero, remarked, "A jerk in the hand is worth two in the bush." The immortal Franklin has said, "Masturbation is the best policy." Michelangelo and all of the other old masters--"old masters," I will remark, is an abbreviation, a contraction--have used similar language. Michelangelo said to Pope Julius II, "Self-negation is noble, self-culture beneficent, self-possession is manly, but to the truly great and inspiring soul they are poor and tame compared with self-abuse." Mr. Brown, here, in one of his latest and most graceful poems, refers to it in an eloquent line which is destined to live to the end of time--"None knows it but to love it; none name it but to praise.”
Mark Twain, On Masturbation

Friedrich Nietzsche
“Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists.”
Friedrich Nietzsche, Human, All Too Human: A Book for Free Spirits

Chuck Palahniuk
“You said how Michelangelo was a manic-depressive who portrayed himself as a flayed martyr in his painting. Henri Matisse gave up being a lawyer because of appendicitis. Robert Schumann only began composing after his right hand became paralyzed and ended his career as a concert pianist. (...) You talked about Nietzsche and his tertiary syphilis. Mozart and his uremia. Paul Klee and the scleroderma that shrank his joints and muscles to death. Frida Kahlo and the spina bifida that covered her legs with bleeding sores. Lord Byron and his clubfoot. The Bronte sisters and their tuberculosis. Mark Rothko and his suicide. Flannery O’Connor and her lupus. Inspiration needs disease, injury, madness.

“According to Thomas Mann,” Peter said, “‘Great artists are great invalids.”
Chuck Palahniuk, Diary

Edward Carpenter
“In the case of Michel Angelo we have an artist who with brush and chisel portrayed literally thousands of human forms; but with this peculiarity, that while scores and scores of his male figures are obviously suffused and inspired by a romantic sentiment, there is hardly one of his female figures that is so,—the latter being mostly representative of woman in her part as mother, or sufferer, or prophetess or poetess, or in old age, or in any aspect of strength or tenderness, except that which associates itself especially with romantic love. Yet the cleanliness and dignity of Michel Angelo's male figures are incontestable, and bear striking witness to that nobility of the sentiment in him, which we have already seen illustrated in his sonnets.”
Edward Carpenter, The Intermediate Sex: A Study Of Some Transitional Types Of Men And Women

“I created a vision of David in my mind and simply carved away everything that was not David.”
Michelangelo

Paul Rudnick
“I believe in a benevolent God not because He created the Grand Canyon or Michelangelo, but because He gave us snacks.”
Paul Rudnick, I Shudder and Other Reactions to Life, Death, and New Jersey

E.A. Bucchianeri
“A man has not fully lived until he experiences that gentle balmy clime of ancient empires, the land of lemon trees and the genius of Michelangelo.”
E.A. Bucchianeri, Vocation of a Gadfly

Grace Curley
“I live in sin.” The winged boy’s eyes had
turned downwards, his soft mouth setting grimly with despair. “To kill myself I live. No longer my life my own, but sin’s; my good is given to me by heaven, my evil by myself, by my free will, of which I am deprived.”
Grace Curley, The Light that Binds Us

“The landscape of Hell is the largest shared construction project in imaginative history, and its chief architects have been creative giants- Homer, Virgil, Plato, Augustine, Dante, Bosch, Michelangelo, Milton, Goethe, Blake, and more.”
Alice K. Turner, The History of Hell

Crystal King
“The table before the emperor was spread with an entire city of sugar, a city so resplendent it was as though a door had opened into heaven itself. Groves of trees dotted the the table's landscape with beautiful painted castles nestled among hills of pale green. Stars hung from the trees and graced the castle flags. From the ceiling, many dozens of gold and silver stars hung by ribbons over the table, creating a fantastical sky. Amid this wondrous landscape there were sculptures of ancient Roman gods in various scenes: Jupiter on a mountain, lightning bolt in hand; Venus born from a sea of blue; Bacchus in drunken debauchery in a grove of delicate green vines. Ever one to be in control, Michelangelo had insisted he not only develop the many dozen molds but that he also be the one to pour the sugar and finalize the details with sugar paste.”
Crystal King, The Chef's Secret

Richard Tarnas
“Within the time span of a single generation surrounding the year 1500, Leonardo, Michelangelo, and Raphael created their many masterworks of the High Renaissance, revealing the birth of the new human as much in da Vinci's multiform genius and the godlike incarnations of the David and the Sistine Creation of Adam as in the new perspectival objectivity and poietic empowerment of the Renaissance artist; Columbus sailed west and reached America, Vasco da Gama sailed east and reached India, and the Magellan expedition circumnavigated the globe, opening the world forever to itself; Luther posted his theses on the door of the Wittenberg castle church and began the enormous convulsion of Europe and the Western psyche called the Reformation; and Copernicus conceived the heliocentric theory and began the even more momentous Scientific Revolution. From this instant, the human self, the known world, the cosmos, heaven and earth were all radically and irrevocably transformed. All this happened within a period of time briefer than that which has passed since Woodstock and the Moon landing. (p. 4)”
Richard Tarnas, Cosmos and Psyche: Intimations of a New World View

Michelangelo Buonarroti
“Italian artist Michelangelo Buonarroti died on 17 February 1564.
"Your greatness is measured by your horizons”
Michelangelo Buonarroti

“During the winter of 1499 Bramante came to Rome in search of patronage. He at once took advantage of his unemployment to immerse himself in the monuments, even dashing off a four-page pamphlet for classically-minded tourists.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“A passionate desire for posthumous glory was a leading motive for men of the Renaissance, whatever their calling.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Despite their age difference-Pope Julius was sixty; Michelangelo, thirty-and their similarily contentious temperaments, neither man could believe that anything he passionately wanted would be denied him.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Marble that was still attached to the mountain vein, or freshly quarried, was considered alive because porous stone retains moisture absorbed from the ground. Quarry sap makes the marble soft, sparkling, and easy to work. After exposure to the air, this calcium-soaked water evaporates, and the stone becomes drier and harder-cotto, Michelangelo calls it in his contract.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Repeating instructions is a practical technique, but everything Michelangelo writes has this quality of pouring out his desires in the order they occur to him.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“He was managing everything by himself and being pulled in too many directions.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Contracting the construction of a papal masoleum was nothing like being alone with his dreams and drawings, chisel and stone. Instead of working, he was writing letters, meeting contacts, arranging payments, obtaining permissions. It was a question of time.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Evidently, Michelangelo was intrigued to contemplate the aftermath of his own experience of eliciting beauty from abstract rock.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Soderini was obliged to explain to Julius that Michelangelo was not to take a step unless he had in his hand a letter of safe conduct from Francesco Alidosi, cardinal of Pavia, the pope’s closest confidant and the man who had overseen the initial transfer of one thousand ducats for the pope’s tomb. Soderini emphasized that above all, they must deal very gently with Michelangelo lest they cause him to flee from Florence, as he had already attempted twice.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Perhaps no artist in history had ever been treated so gingerly.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“By provoking separate studies of monumental male nudes in self-consciously handsome postures, he established the curriculum for generations of imitators.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“A face half-trapped in stone is a terrible image, and indeed, Michelangelo’s renown for terribilita-which connotes the possession of awesome force begins here with this single unfinished apostle.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Nothing about the figure alludes to its identity apart from the book, which remains embedded in the rough-cut rock like the rest of its body. Only the apostle’s left knee projects sufficiently to raise the shape of breaking out.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“One suspects he disdained the traditional preparations of drawing and modeling in favor of cutting straight into the marble containing the captive soul yearning for release. The result is a kind of metaphor perhaps unconscious for the struggle of artistic creation. The only way Michelangelo could show us this was to leave the figure half-embedded in the rock.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“With his wayward artist once again firmly in his grasp, the pope set to work surveying the old medieval wall of the northern periphery of the city.”
John T. Spike, Young Michelangelo: The Path to the Sistine

“Toward the end of 1508, when most of the rooms were already frescoed, Bramante brought in a new talent, Raphael Sanzio, to execute the library. When Julius had eyes on his painting in the Stanza della Segnatura, he fired the painters who had nearly finished the new decorations for his private quarters and ordered Raphael to redo their works as he saw fit. The paintings that had so stunned Julius is today called The School of Athens. In it, Raphael created a visual anthology of classical philosophy that included many recognizable portraits in the crowd of erudites. We see his self-portrait as a golden-haired youth of extraordinary beauty, Bramante as Euclid holding class in geometry, Leonardo as Plato exhorting Aristotle to lift his gaze upward. Michelangelo’s portrait is the most like him, down to his negligent dress. He appears in the center of the foreground as Heraclitus, the melancholy philosopher, slumped over a makeshift table, alone in his thoughts.”
John T. Spike, Young Michelangelo: The Path to the Sistine

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