Synthesized answer
The provided passages do not explicitly state the purpose of omitting specific titles of Michelangelo's works in an entry from the "Catholic Encyclopedia (1913)." However, the text does emphasize Michelangelo's artistic approach and character.
The passages highlight Michelangelo's "gigantic striving after the absolute ideal of art" and his "restless efforts to attain the loftiest ideals by new methods" [1]. His creations are described as bearing "the stamp of his subjectivity" [1]. The text also notes his "sturdy determination, guided by a lofty ideal" [4]. This focus on his internal drive, pursuit of perfection, and innovative methods suggests that the omission of specific titles might serve to emphasize Michelangelo as an artist driven by profound ideals and a unique creative spirit, rather than solely by the enumeration of his finished works [1, 4].
Furthermore, the passages mention Michelangelo's "integrity of his moral virtue" [2, 5] and his "unassuming" nature despite his genius [5]. The text also notes his "many-sided character, independent and persistent in his views and his endeavours" [4]. These details suggest an emphasis on his moral character and personal qualities…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
atiable, not so much owing to his desire for renown, as to his almost gigantic striving after the absolute ideal of art. For this reason Michelangelo's creations bear the stamp of his subjectivity and of his restless efforts to attain the loftiest ideals by new methods. He accomplished much that was extraordinary in three or four departments of art, but at the same time broke through many limitations prescribed by the laws of beauty in all arts, wilfully disregarding, at times, in his modelling of the human figure, even that fidelity to nature which he esteemed so highly. The way he pointed…
ichelangelo in all the ninety years of his life never gave any grounds for suspecting the integrity of his moral virtue. SCULPTURE First Period If the years before 1505, that is, before the summons by Julius II, be taken as Michelangelo's youth, it may be said that, even when a pupil in Bertoldo's school, he attracted attention not only by his work in clay and by the head of a faun in marble after a classical model, but especially by two marble bas-reliefs of his own design. The "Madonna Seated on a Step", pressing the Child to her breast under her mantle, shows, it is true, but little…
← Joannes Bunderius Catholic Encyclopedia (1913) Michelangelo Buonarroti by Gerhard Gietmann Burchard of Basle → From volume 3 of the work. 96435 Catholic Encyclopedia (1913) — Michelangelo Buonarroti Gerhard Gietmann Italian sculptor, painter, and architect, b. at Caprese in the valley of the upper Arno, 6 March, 1475; d. at Rome, 18 February, 1564. Michelangelo, one of the greatest artists of all times, came from a noble Florentine family of small means, and in 1488 was apprenticed to Domenico Ghirlandajo. While apprentice, he excited the admiration of his master by the life-like animation…
ternately in Rome and Florence by Julius and his successors, Leo X, Clement VII, and Paul III being his special patrons. In 1534, shortly after the death of his father, Michelangelo left Florence never to return. The further events of his life are closely connected with his artistic labours. Some weeks after his death his body was brought back to Florence and a few months later a stately memorial service was held in the church of San Lorenzo. His nephew, Leonardo Buonarroti, erected a monument over his tomb in Santa Croce, for which Vasari, his well known pupil and biographer, furnished the…
d caused him to realize the vanity of earthly ideals. His spirit was always absorbed in a struggle to attain perfection. Yet with all this he was not haughty; many of his sayings that have come down to us show him to have been unusually unassuming. The explanation of his unwillingness to have the aid of assistants must be sought in the peculiarity of his artistic methods. Michelangelo's life was one of incessant trials, yet in spite of an imperious temper and many bodily infirmities he showed remarkable composure and forbearance. No matter how much trouble was caused him by his distinguished…
More questions about this book
- How did Michelangelo's diverse early training—from his apprenticeship with Ghirlandajo to his time with the Medici and his anatomical studies—collectively contribute to the development of his unique artistic perspective?
- Explain how Michelangelo could simultaneously draw inspiration from "predecessors and the masterpieces of classical antiquity" while also "sacrificing his individuality." What does this balance imply about his creative process?
- Trace the impact of Michelangelo's powerful patrons, from Lorenzo the Magnificent to the various Popes, on his geographic movements and the likely nature of his "artistic labours." How might different patrons have shaped his artistic output?
- What do the statements about Michelangelo's "fame" preceding him and the detailed accounts of his elaborate memorials suggest about the role and status of artists in Renaissance society?