UNIT II: UT PICTURA POESIS: ART AS A PICTURE OF REALITY

THE ART OF MICHELANGELO (IDEALISM)

OBJECTIVES:

1. Be able to explain the philosophical tenets of Neoplatonism.

2. Be able to cite several examples of Michelangelo's art which show the influence of Neoplatonism on his art. Be able to describe specific aspects of these pieces which reflect Neoplatonic ideals.

3. Be able to discuss how Michelangelo's career shows the influence of patronage in the Italian Renaissance.

4. Be able to discuss how Michelangelo's philosophy of art represents a shift from earlier views of the arts as crafts and of the status of the artist in society.

5. Be able to discuss the view of the artist as genius which emerges in the late Renaissance.

FAMOUS QUOTATIONS:

"The Idea of Beauty, which is a mirror and a lamp to both my arts, was bestowed on me at birth. Whoever conceives otherwise is mistaken. This Idea alone lifts my eyes to those high visions which I set myself to paint and carve here below." "The beauty which you see comes truly from your lady; but this beauty grows, since it ascends to a better place when through mortal eyes it passes on to the soul ... There it is made into something divine."

OUTLINE

I. Biography A. A&S film

II. Michelangelo's Artistic theories

A. Neoplatonism

i) Plotinus and Ficino

ii) The One

iii) Emanations: Nous

iv) human souls

v) Matter

vi) Beauty and the One

B. Michelangelo's artistic theories:

i) Platonic influences

C. Neoplatonism in Art:

i) Pieta

ii) David

a) Michelangelo and the nude

b) Micehlangelo and the body as reflection of the inner self: Moses

iii) struggle of soul to return to matter: the Bound Slave and the Rebellious Slave ("unfinished" works)

D The Sistine Chapel Ceiling

i. Mathematical Symbols and NeoPlatonism

ii. Light and the Zones of the Ceiling

iii. Pagan Sibyls and Biblical prophets

iv. Order of the panels and Neoplatonism: A quick tour

v. Drunkenness of Noah: enslavement to matter

vi. Creation of Adam

a) Platonic forms under the arm of God

vii. Creation, Abstraction, and NeoPlatonism

viii. The Last Judgement