Archive for the ‘Michelangelo’ Category

After touring America for nine months, David returned home to Florence

05/01/2008

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Delicate connections

03/01/2008

A Tale of Two City’s Sculptures

01/21/2008
Florence, Italy



Chicago, Illinois


What do these two sculptures, works of public art, have in common?

Aside from giving interesting clues about how each city views or viewed the power of the citizen, and insights into the aesthetics of each place, what these two sculpted men share is that each has been moved from his place of power. From where the art might do the most good. From where the art would have the most power.

Read this about what some Florentines want to do to David now.

Our guy has also been taken away from where he belongs. He’s now at Chicago Police Headquarters, preaching to the converted.

And don’t both show vulnerability? The officer, while saying “Stop!,” looks very vulnerable. Maybe that’s is why he’s been vandalized and bombed at least twice.

David – well, if that’s not vulnerable, I don’t know what it is.

-E


David, Michelangelo, 1504 / Florence, Galleria dell’Accademia

10/27/2006

Coarchidence

I’d never seen the similarity here. Never thought of Behrens’ roof in this way.

Top: Michelangelo – Tomb of Julius II – Roma
Lower: Peter Behrens – AEG Turbine factory – Berlin

By the way:

10/27/2006

Coarchidence

I’d never seen the similarity here. Never thought of Behrens’ roof in this way.

Top: Michelangelo – Tomb of Julius II – Roma
Lower: Peter Behrens – AEG Turbine factory – Berlin

By the way:

10/27/2006


Architecture is poetry. Is that what’s missing today?

“Michelangelo writes poetry in his architecture” says Pisan curator Howard Burns. “One often comes across verses by the Master right next to the architectural drawings, expressing the pure emotion he felt after inventing such harmonious forms”.

A new exhibition in Florence illuminates Michelangelo’s fundamentally “poetic” sense of architecture – as underscored by the poetical musings found on several newly discovered manuscripts.

Read about it here. (via)

Good Architecture has Poetry.
Good poetry has Architecture.

I’d like to see the Poetry Foundation, flush with cash, sponsor poets to visit, and stay in inspirational settings, such as the Farnsworth House, to see what they pen.

And wasn’t it Mies who said,
‘If you are very good at (architecture) you may speak a wonderful prose.
If you are really good you can be a poet.’

-Edwardoangelo

Photo of: Michelangelo’s “La Notte” (Tomb of Giuliano, Medici Chapel, Florence)

10/27/2006


Architecture is poetry. Is that what’s missing today?

“Michelangelo writes poetry in his architecture” says Pisan curator Howard Burns. “One often comes across verses by the Master right next to the architectural drawings, expressing the pure emotion he felt after inventing such harmonious forms”.

A new exhibition in Florence illuminates Michelangelo’s fundamentally “poetic” sense of architecture – as underscored by the poetical musings found on several newly discovered manuscripts.

Read about it here. (via)

Good Architecture has Poetry.
Good poetry has Architecture.

I’d like to see the Poetry Foundation, flush with cash, sponsor poets to visit, and stay in inspirational settings, such as the Farnsworth House, to see what they pen.

And wasn’t it Mies who said,
‘If you are very good at (architecture) you may speak a wonderful prose.
If you are really good you can be a poet.’

-Edwardoangelo

Photo of: Michelangelo’s “La Notte” (Tomb of Giuliano, Medici Chapel, Florence)

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.