中国艺术作品赏析论文范文高中英语
可以去汉斯的官网上下载吧~他们有（设计）这本oa期刊
罗马雕刻家除了表现统帅、英雄人物、全家群像、夫妇合像、单人墓碑像外，还在罗马的建筑、广场、纪念柱等上面装饰了许多圆雕和浮雕。三世纪较有名的建筑为塞普提米乌斯、谢维路斯凯旋门和卡拉卡拉的公共浴室。古罗马雕塑是西方古代文明的重要组成部分，它对西方现实主义雕刻的发展作出了杰出的贡献。 历史上一般称欧洲的封建社会为“中世纪”，艺术史上把古罗马以后到文艺复兴前这段时间的西方艺术称为“中古世纪的艺术”，它延续了1200年左右。在中世纪的欧洲，基督教成为封建统治的有力支柱。因此，欧洲中世纪的雕塑主要为基督教服务。中世纪盛期的文化艺术，经历了罗马式时期和哥特式时期。教堂建筑成为当时主要艺术载体，许多优秀雕刻家从事教堂建筑的装饰雕塑和内部陈列的圆雕工作。法国的安高莱姆教堂，康城的三圣教堂，德国盖因拉德的圣基列阿教堂中的许多雕刻，都具有代表性。 罗马式教堂以其坚厚、敦实的形体显示教会的威力，哥特式教堂以其灵巧、尖挺的上升力量控制观者的精神感情。教堂建筑中彩色玻璃窗画的明暗变化，各色各样轻巧玲陇的雕花图案和壁上的雕塑，都有助于加强宗教神秘的气氛。哥特式教堂代表了中世纪建筑艺术的最高成就，如著名的巴黎圣母院、沙脱尔教堂、理姆斯教堂等，都是哥特式教堂。而哥特式雕塑则基本上代表了中世纪保守落后的宗教艺术。 14世纪的法国雕塑中，哥特式艺术反映现实倾向增强，对人物姿态、表情、形体等方面开始夸张强调，为宗教服务的哥特式雕塑开始出现了新兴资产阶级艺术的萌芽。中世纪的雕塑有精华有糟粕，许多作品中充满迷信、荒诞的宗教内容，但从艺术遗产的角度来看，当时的雕塑家们也创造了不少属于人民的、有积极因素的好作品，在世界美术史上占有相当重要的位置。 从15世纪后半叶开始一直16世纪，文艺复兴文化在欧洲许多国家产生和形成。在欧洲的许多先进国家里，文化艺术达到了高度繁荣，文艺复兴掀起了欧洲文化艺术发展的一个高峰。文艺复兴文化是反对封建宗教的文化，提倡复兴希腊罗马古典文化，起领导作用的是正在形成中的资产阶级。文艺复兴时期的雕刻，继承并发展了希腊、罗马雕刻艺术的传统，使雕刻艺术达到了高度繁荣，文艺复兴时期的著名雕刻家，差不多都集中在佛罗伦萨。最先出现的雕刻大师是季培尔蒂，佛罗伦萨洗礼堂的两扇青铜大门上的装饰浮雕是他的代表作。伟大的雕刻家米开朗基罗把这两扇大门赞誉为“天堂之门”。同一个时期的伟大雕刻家还有多那泰罗、委罗齐奥等。而米开朗基罗的出现，则标志着文艺复兴时期的雕刻艺术发展到了最高峰。他们以写实的手法，用准确的人体解剖学，塑造人物形象，使人的形态有很强的力度感，以雕刻的艺术语言塑造传神的形象和高度的技巧手法。文艺复兴时期的雕刻艺术对后期的雕刻家有极大的影响。 西方中世纪和文艺复兴时期油画多有于取材古希腊神话(及其发展--古罗马神话)的，而在西方雕塑发展史上，古希腊雕塑代表着一种美学高度。希腊艺术家确立规范和原则，对后世西方艺术创作产生了深远影响，文艺复兴时期和新古典主义的雕塑艺术就以其为标杆。古希腊的艺术家确定了最美的人体的原则。公元前4世纪的希腊古艺术家波利克里托斯是第一个“规范”了“美”的艺术家，他从纯数学理论角度，计算出一个做为人类身材范本的男士应该具有的身材比例。他是“黄金分割律”的鼻祖。并且，评判他人、修炼自己的身材仪容也成为古希腊人的习惯。“苏格拉底一贯认为：凡是身材不佳、仪容不整的人都是没有公共精神、不积极参与公共事务的人。在苏格拉底的眼里，公民身材肥硕问题属于公共事务的范畴，而肥胖也是政治问题。”尼采就曾说过，要在“身体上做一个古希腊人”。有意思的是，如果不是马其顿亚历山大大帝东侵印度，将雕塑艺术带到恒河流域，恐怕流传到东方各国的佛教也就不会有后来繁荣不已的造像艺术(云冈，龙门，莫高窟，巴米扬大佛)，甚至在佛教、道教(借鉴了佛教的传教形式)的寺庙里也不会供奉着偶像。因为，古印度的宗教传统里是不崇尚偶像崇拜的。坦胸露乳的佛像，恐怕也只能来源于古希腊的文明吧！
上个世纪初，在西欧流行一部卷幅浩瀚的长篇小说《芳托马斯》。32卷由两个作家合作完成，每月创作一卷。合作延续到1914年第一次世界大战爆发，后来，路易•菲伊雷德把小说改编成电影，放映后在欧洲引起轰动。 《芳托马斯》的主角是一个十恶不赦的坏蛋，叫芳托马斯。他入室盗窃，诱奸妇女，抢劫银行，无恶不作。警察全力追捕，街上贴满缉拿文告。但是芳托马斯狡诈异常。警察根本不是他的对手。他有高超的易容术，从不露出真容；他身手敏捷，能飞檐走壁；他精通缩骨术，能从极小的缝隙中飞身而过。他经常与警察玩猫捉老鼠的游戏。他化装成绅士出入于酒店、旅馆与赌场，时而与政要侃侃而谈，时而与贵妇逢场作戏。总之，这是一个半魔幻半真实的风流大盗。他有智取法律的力量，敢于向愚蠢的官僚机构挑战，具有超现实的魔力。 《受威胁的凶手》就是芳托马斯的崇拜者之一，超现实主义画家马格利特的作品。关于马格利特的介绍网上可查，不在此赘述。接着返回原画上，整张画面，二名手持简单工具的侦探，一具赤裸女尸，一名穿着讲究不明身份的人，三名围观者。最初看到这幅画时，脑中便充满各种诡异的问号:谁杀了那名女子？留声机旁边的男子到底是谁？那两名侦探为何手持如此简单的抓捕工具？三名围观者到底看到了什么？ 找到了上面的背景，心中稍微宽松，若马格利特真的是在画芳托马斯的话，留声机旁边的男子就应该是那位风流大盗了。刚刚做完案的他正在准备易容逃跑，地上的旅行箱，凳子上的大衣和帽子是他的作案工具。门口的两名侦探正在等待时机，或许是在等候支援的同伴，面对名声大作的芳托马斯不敢轻举妄动，面部表情极其凝重。三名围观者目睹一切后，惊愕、忧郁尽显脸上，一切一触即发。而画家更是将看画人的视角至于这一切发生的最近处，整个场面令人紧张不已。 可是画家在这里开了个小小的玩笑，在已经发明了留声机的年代，两名侦探还手持木棒、绳网，意图逮捕芳托马斯如此这般的江洋大盗，画家拿我们顽固。愚蠢的官僚机构开了一把涮。 老师也讲到过，整幅画人物的面孔全是马格利特，听到时很是迷惑。为何要将自己画成所有人？是技术，用以构成魔幻感么？以哲学绘画著名的画家应该不止有这点想法吧？我这样猜度着。受害者是我，施暴者是我，围观者是我，执法者也是我。画家这么画到底是为什么？ 画家画这幅画的时候，立体主义，野兽主义已经在欧洲普遍流行，达达主义，未来主义，超现实主义正在蓬勃发展。随着照相机的发明，画家的绘画对象，表现手法都发生了重大改变，艺术观念经受着暴风骤雨般的洗礼，画家本人也从一只烟斗开始，去探索相似和近似的概念，，把观念和形象分离开来，挑战了大众的常识，发人深省。用绘画把“是”与“不是”这个哲学问题表达出来。而以上各种主义发展到达达主义反传统，反艺术之后，不论是艺术，还是道德都需要一种颠覆，杜尚用他的作画颠覆了艺术形式，那马格利特这幅画就是对道德的一种颠覆。画家崇拜芳托马斯，崇拜他能玩弄政府机构于股掌，完全自由；在作画职业上，画家却扮演着那两名侦探式的人物，理性，专业；在现实生活中，画家扮演着别人生活的围观者，或许自己也是受害者。一个人身上有多种身份，不同以往，受害者是值得同情的，施暴者是必须谴责的，围观者是完全无辜的。道德不如以前一样代表着绝对的善恶，而是随着人性的胶合越来越暧昧不清。我们的自私，冷漠不再是无事者的无关紧要。因为一切都与自己有关。这也正是体现了现代艺术的本质，对观念的改变和诠释。改变和诠释建立在艺术家大量的思考上。马格利特受不了巴黎的艺术氛围回到了比利时，自己一个人思考，用画笔去诠释，虽然在美术史上不如其他一些大家那般早年得志，却也画出了自己的一副天地。他的画总以哲思出名，比例的夸大，主题的诡异，思想的深奥，挡住了大部分人的脚步，被印在钞票上的《天降》，我倒觉得远不如他《窗》系列那组画来的动人，画布遮挡住窗户，画上户外的景象，真实是什么？画家用这组画来拷问我们。与其说马格利特是魔幻现实主义画家，我到是偏向于把他归为现实派的思想，魔幻的表达手法。他和达利不同，达利执迷于如何表达潜意识，但是马格利特却表达着现实，用魔幻拷问着现实。对于常规，大多数人选择默认，而马格利特却用自己的画笔拷问着这些大家默认的东西。以哲人的身份画画，这就是我想说的马格利特。【参考书目】： 《马格利特：图像的哲学》 刘云卿 广西大学出版社 《现代主义绘画解读》 孙家祥 上海教育出版社 《剑桥艺术史-20世纪艺术》 罗斯玛丽•兰伯特（英） 译林出版社 《世界著名图像的秘密》 张延风 百花文艺出版社 《奢华的冒险-现代艺术的消解与重建》 张彬 北京大学出版社 《二十世纪视觉艺术》 爱德华•路希•史密斯（英）
哈，那老师可不怎么好说，很多人得中等的
中国艺术作品赏析论文范文初中英语
什么清明上河图 可以不 百度上很多的 找几篇混着抄就好了 我上次也是这样的
最经典的属《中国的艺术若能合起来如同一棵参天大树，枝 叶茂盛，万年长青》 作者：艺术大师黄泽金点画大师黄泽金先生痛批当今艺术： 为什么越来越多人对当今的艺术感到失望与可悲？黄先生说：一方面是艺术家 本身喜欢玩笔墨游戏，一方面是所为的艺术专家们的误导。一方面是艺术品拍卖公司的胡乱炒作。专家们常常把胡乱几笔画成的作品说成是神品，把下大功夫认真画成的作品评为俗气。这种评论本身已背离了对艺术作品的真正评价。这是不符逻辑的评论，更是荒谬的评论。如今的好多艺术评论家都和钱权挂钩，只有你有钱有权，想要什么样的评价都可以从他们嘴里买到。想评多高就多高，想要多好就多好。因为如今的艺术评论家大多都是些对艺术狗屁不通的假评价家。评论资格都是要钱权关系弄来的。真正有能力、说真话、敢说真话的评论家不多。之所以如今的艺术家为什么都喜欢玩笔墨游戏？因为大多数艺术家都被假评论家所误导。所以大家都想创造所为的神品，创造作品更高的价值换来自己的名和利---------艺术如此下去只有死路一条！ 中国的艺术若能合起来如同一棵参天大树，枝 叶茂盛，万年长青。但如今的中国艺术界如同一盘散沙，门派之争太多，艺术分歧太大。各门各派推崇认可的都是自家门派的弟子或艺术。其他门派难入门，无门无派更靠边站。 我认为书画艺术也如同一代武术宗师李小龙先生的武术论：“武术无所谓门派、不分国际。武术的最高境界是以最快最短的时间击倒对方。”而书画艺术也如此，无所谓门派、也不分国际。书画艺术的最高境界是以最好的方法表现物像最美的瞬间。 而今的中国艺术界钱权味太浓，艺术味太 淡。少有艺术家为艺术而艺术，多是为钱权而艺术。所创作的作品多是商业化。门外门内人们兴讨热谈的都是谁的作品贵、谁的作品更值钱，艺术家有时间模仿名家作品，而没有时间创作自家作品。更少有几人真正探讨艺术作品的美与丑。就连培养艺术人才的公办学府都如同古时的衙门，有钱有势者请进，无权无势者止步。如今的世道有权有势者条条大道通行无阻，无权无势者条条大道处处受限制。难怪贫家才子偶尔出个才子佳人，常有小人得志变猖狂、自私自利、目中无人。 如今的艺术界人人把钱财看太重，人情看太轻，为名利之争，师生常反目，同门常 仇对，老少常排斥，长者常掌权。中国的艺术再不改革，艺术眼观再不放远。心胸再不宽阔。如此下去只会埋没一大批才子佳人或消磨一大批有为青年的雄心意志。如此下去中国的艺术不知还能走多远？如此下去，中国的艺术只有死路一条？-------- 如今 中国艺术界 千里马难找，像徐悲鸿先生那样心胸宽 阔、眼观卓越、慷慨解囊、爱才如命的艺术伯 乐和艺术大师更难寻。 像吴冠中先生那样 敢说真话、不说假话的艺术大师更是难遇。 （-------文章来源网络-------）
推荐 你看 陈传席的 【画坛点将录】 有他评论的各个大家和大师
中国艺术作品赏析论文范文高中语文
清代康熙年间编订的《全唐诗》，收录诗四万八千九百多首，常人难以全读；此后 沈德潜以《全唐诗》为蓝本，编选《唐诗别裁》，收录诗一千九百二十八首，普通人也难以全读。于是，清代乾隆年间蘅塘退士以《唐诗别裁》为蓝本，编选《唐诗三百首》收录诗三百一十首，成为流传最广、影响最大的唐诗普及读本。
艺术鉴赏论文以论文中心为基础，展开论述，主要阐明它的艺术价值重要性
你选的是那个 我也要写这个
哈，那老师可不怎么好说，很多人得中等的
中国艺术作品赏析论文范文高中
可以去汉斯的官网上下载吧~他们有（设计）这本oa期刊
你妹、自己百度不会、我都自己百度交的
有本（艺术研究快报），汉斯出版社的期刊，你可以学习参考，文献都免费下载的，也可以直接去他们公众号联系编辑咨询
清代康熙年间编订的《全唐诗》，收录诗四万八千九百多首，常人难以全读；此后 沈德潜以《全唐诗》为蓝本，编选《唐诗别裁》，收录诗一千九百二十八首，普通人也难以全读。于是，清代乾隆年间蘅塘退士以《唐诗别裁》为蓝本，编选《唐诗三百首》收录诗三百一十首，成为流传最广、影响最大的唐诗普及读本。
经典艺术作品赏析论文范文高中英语
竟然全国都写这个，同济大学报到。。这句酷网。。
Michelangelo di Lodovico Buonarroti Simoni (March 6， 1475 – February 18， 1564)， commonly known as Michelangelo， was an Italian Renaissance painter， sculptor， architect， poet and Despite making few forays beyond the arts， his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man， along with his rival and fellow Italian Leonardo da VMichelangelo's output in every field during his long life was prodigious; when the sheer volume of correspondence， sketches and reminiscences that survive is also taken into account， he is the best-documented artist of the 16th Two of his best-known works， the Pietà and the David， were sculpted before he turned Despite his low opinion of painting， Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in R Later in life he designed the dome of S Peter's Basilica in the same city and revolutionised classical architecture with his invention of the giant order of In a demonstration of Michelangelo's unique standing， two biographies were published of him during his One of them， by Giorgio Vasari， proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance， a viewpoint that continued to have currency in art history for In his lifetime he was also often called Il Divino ("the divine one")， an appropriate sobriquet given his intense One of the qualities most admired by his contemporaries was his terribilità， a sense of awe-inspiring grandeur， and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in the next major movement in Western art after the High Renaissance， MContents [hide]1 Early life 2 Michelangelo's David 3 Under Pope Julius II in Rome: the Sistine Chapel ceiling 4 Under Medici Popes in Florence 5 Last works in Rome 6 Michelangelo the architect 1 Laurentian Library 2 Medici Chapel 7 Michelangelo the man 8 Relationships 9 See also 10 References 11 Further reading 12 External links [edit] Early life Bust of Michelangelo on the roof of St Peter's Basilica， Vatican CityMichelangelo was born in Caprese near Arezzo， Tuscany， the second of five His father， Lodovico di Leonardo di Buonarroti di Simoni， was the resident magistrate in Caprese and podestà of C His mother was Francesca di Neri del Miniato di S The Buonarroti claimed to descend from Countess Mathilde of Canossa; this claim was probably false， but Michelangelo himself believed [1] However， Michelangelo was raised in Florence and later， during the prolonged illness and after the death of his mother， lived with a stonecutter and his wife and family in the town of Settignano where his father owned a marble quarry and a small Michelangelo once said to the biographer of artists Giorgio Vasari， "What little good I have within me came from the pure air of your native Arezzo and the chisels and "Against his father's wishes and after a period of grammatics studies with the humanist Francesco da Urbino， Michelangelo continued his apprenticeship in painting with Domenico Ghirlandaio and in sculpture with Bertoldo di G Michelangelo's father managed to persuade Ghirlandaio to pay the young artist， which was unheard of at the In fact， most apprentices paid their masters for the Impressed， Domenico recommended him to the ruler of the city， Lorenzo de' Medici， and Michelangelo left his workshop in From 1490 to 1492， Michelangelo attended Lorenzo's school and was influenced by many prominent people who modified and expanded his ideas on art， following the dominant Platonic view of that age， and even his feelings about It was during this period that Michelangelo met literary personalities like Pico della Mirandola， Angelo Poliziano and Marsilio FIn this period Michelangelo finished Madonna of the Steps (1490–1492) and Battle of the Centaurs (1491–1492) The latter was based on a theme suggested by Poliziano and was commissioned by Lorenzo de M After the death of Lorenzo on April 8， 1492， for whom Michelangelo had become a kind of son， Michelangelo left the Medici In the following months he produced a Wooden crucifix (1493)， as a thanksgiving gift to the prior of the church of Santa Maria del Santo Spirito who had permitted him some studies of anatomy on the corpses of the church's H Between 1493 and 1494 he bought the marble for a larger than life statue of Hercules， which was sent to France and disappeared sometime in the He could again enter the court on January 20， 1494， Piero de Medici commissioned a snow statue from But that year the Medici were expelled from Florence after the Savonarola rise， and Michelangelo also left the city before the end of the political upheaval， moving to Venice and then to B He did stay in Florence for a while hiding in a small room underneath San Lorenzo that can still be visited to this There are still some charcoal sketches on the walls which Michelangelo drew from his Here he was commissioned to finish the carving of the last small figures of the tomb and shrine of S Dominic， in the church with the same He returned to Florence at the end of 1494， but soon he fled again， scared by the turmoil and by the menace of the French He was again in his city between the end of 1495 and the June of 1496: whereas Leonardo da Vinci considered the ruling Savonarola a fanatic and left the city， Michelangelo was touched by the friar's preaching， by the associated moral severity and by the hope of renovation of the Roman C In that year a marble Cupid by Michelangelo was treacherously sold to Cardinal Raffaele Riario as an ancient piece: the prelate found out that it was a fraud， but was so impressed by the quality of the sculpture that he invited the artist to Rome， where he arrived on June 26， On July 4 Michelangelo started to carve an over-life-size statue of the Roman wine god， Bacchus， commissioned by Cardinal Raffaele Riario; the work was rejected by the cardinal， and subsequently entered the collection of the banker Jacopo Galli， for his Michelangelo's Pietà was carved in 1499， when the sculptor was 24 years Subsequently， in November of 1497， the French ambassador in the Holy See commissioned one of his most famous works， the Pietà The contemporary opinion about this work — "a revelation of all the potentialities and force of the art of sculpture" — was summarised by Vasari: "It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the "The contract was stipulated in the August of the following Though he devoted himself only to sculpture， during his first stay in Rome Michelangelo never stopped his daily practice of In Rome， Michelangelo lived near the church of Santa Maria di Loreto: here， according to the legends， he fell in love (probably a Platonic love) with Vittoria Colonna， marquise of Pescara and His house was demolished in 1874， and the remaining architectural elements saved by new proprietors were destroyed in Today a modern reconstruction of Michelangelo's house can be seen on the Gianicolo [edit] Michelangelo's David Michelangelo created the colossal statue of David， one of the most renowned works of the RMain article: David (Michelangelo)Michelangelo returned to Florence in 1499– Things were changing in the city after the fall of Savonarola and the rise of the gonfaloniere Pier S He was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue portraying David as a symbol of Florentine freedom， to be placed in the Piazza della Signoria， in front of the Palazzo V Michelangelo responded by completing his most famous work， David in This masterwork， created out of marble from the quarries at Carrara， definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic Also during this period， Michelangelo painted the Holy Family and St John， also known as the Doni Tondo or the Holy Family of the Tribune: it was commissioned for the marriage of Angelo Doni and Maddalena Strozzi and in the 17th Century hung in the room known as the Tribune in the U He also may have painted the Madonna and Child with John the Baptist， known as the Manchester Madonna and now in the National Gallery， L[edit] Under Pope Julius II in Rome: the Sistine Chapel ceilingMain article: Sistine Chapel ceiling Michelangelo painted the ceiling of the Sistine CIn 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II He was commissioned to build the Pope's Under the patronage of the Pope， Michelangelo had to constantly stop work on the tomb in order to accomplish numerous other Because of these interruptions， Michelangelo worked on the tomb for 40 The tomb， of which the central feature is Michelangelo's statue of Moses， was never finished to Michelangelo's It is located in the Church of S Pietro in Vincoli in RThe major interruption on the tomb was the commission to paint the ceiling of the Sistine Chapel， which took approximately four years to complete (1508 – 1512) According to Michelangelo's own account， reproduced in contemporary biographies， Bramante and Raphael convinced the Pope to commission Michelangelo in a medium not familiar to the artist， in order that he might be diverted from his preference for sculpture into fresco painting， and thus suffer from unfavorable comparisons with his rival R However， this story is discounted by modern historians on the grounds of contemporary evidence， and may be merely a reflection of the artist's own Michelangelo was originally commissioned to paint the 12 Apostles， but protested for a different and more complex scheme， representing Creation， the Downfall of Man and the Promise of Salvation through the prophets and Genealogy of C The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic ChurchThe composition eventually contained over 300 figures and had at its centre nine episodes from the Book of Genesis， divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly， the state of Humanity as represented by Noah and his On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of the J They are seven prophets of Israel and five Sibyls， prophetic women of the Classical Among the most famous paintings on the ceiling are the Creation of Adam， Adam and Eve in the Garden of Eden， the Great Flood， the Prophet Isaiah and the Cumaean S Around the windows are painted the ancestors of C[edit] Under Medici Popes in Florence Michelangelo's MIn 1513 Pope Julius II died and his successor Pope Leo X， a Medici， commissioned Michelangelo to reconstruct the façade of the basilica of San Lorenzo in Florence and to adorn it with Michelangelo agreed The three years he spent in creating drawings and models for the facade， as well as attempting to open a new marble quarry at Pietrasanta specifically for the project， were among the most frustrating in his career， as work was abruptly cancelled by his financially-strapped patrons before any real progress had been The basilica lacks a facade to this Apparently not the least embarrassed by this turnabout， the Medici later came back to Michelangelo with another grand proposal， this time for a family funerary chapel in the basilica of San L Fortunately for posterity， this project， occupying the artist for much of the 1520s and 1530s， was more fully Though still incomplete， it is the best example we have of the integration of the artist's sculptural and architectural vision， since Michelangelo created both the major sculptures as well as the interior Ironically the most prominent tombs are those of two rather obscure Medici who died young， a son and grandson of L Il Magnifico himself is buried in an unfinished and comparatively unimpressive tomb on one of the side walls of the chapel， not given a free-standing monument， as originally Michelangelo's The Last J Saint Bartholomew is shown holding the knife of his martyrdom and his flayed The face of the skin is recognizable as MIn 1527， the Florentine citizens， encouraged by the sack of Rome， threw out the Medici and restored the A siege of the city ensued， and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to The city fell in 1530 and the Medici were restored to Completely out of sympathy with the repressive reign of the ducal Medici， Michelangelo left Florence for good in the mid-1530s， leaving assistants to complete the Medici Years later his body was brought back from Rome for interment at the Basilica di Santa Croce， fulfilling the maestro's last request to be buried in his beloved T[edit] Last works in Rome Michelangelo designed the dome of S Peter's Basilica， although it was unfinished when he The fresco of The Last Judgment on the altar wall of the Sistine Chapel was commissioned by Pope Clement VII， who died shortly after assigning the Paul III was instrumental in seeing that Michelangelo began and completed the Michelangelo labored on the project from 1534 to October The work is massive and spans the entire wall behind the altar of the Sistine C The Last Judgment is a depiction of the second coming of Christ and the apocalypse; where the souls of humanity rise and are assigned to their various fates， as judged by Christ， surrounded by the SOnce completed， the depictions of nakedness in the papal chapel was considered obscene and sacrilegious， and Cardinal Carafa and Monsignor Sernini (Mantua's ambassador) campaigned to have the fresco removed or censored， but the Pope After Michelangelo's death， it was decided to obscure the genitals ("Pictura in Cappella Aa coopriantur") So Daniele da Volterra， an apprentice of Michelangelo， was commissioned to cover with perizomas (briefs) the genitals， leaving unaltered the complex of bodies (see details[3]) When the work was restored in 1993， the conservators chose not to remove all the perizomas of Daniele， leaving some of them as a historical document， and because some of Michelangelo’s work was previously scraped away by the touch-up artist's application of “decency” to the A faithful uncensored copy of the original， by Marcello Venusti， can be seen at the Capodimonte Museum of NCensorship always followed Michelangelo， once described as "inventor delle porcherie" ("inventor of obscenities"， in the original Italian language referring to "pork things") The infamous "fig-leaf campaign" of the Counter-Reformation， aiming to cover all representations of human genitals in paintings and sculptures， started with Michelangelo's To give two examples， the marble statue of Cristo della Minerva (church of Santa Maria sopra Minerva， Rome) was covered by added drapery， as it remains today， and the statue of the naked child Jesus in Madonna of Bruges (The Church of Our Lady in Bruges， Belgium) remained covered for several In 1546， Michelangelo was appointed architect of S Peter's Basilica in the Vatican， and designed its As S Peter's was progressing there was concern that Michelangelo would pass away before the dome was However， once building commenced on the lower part of the dome， the supporting ring， the completion of the design was [edit] Michelangelo the architect Michelangelo's own tomb， at Basilica di Santa Croce di Firenze， FlorenceMichelangelo worked on many projects that had been conceived by other men， most notably in his work at St Peter's Basilica， R The Campidoglio， designed by Michelangelo during the same period， rationalized the structures and spaces of Rome's Capitoline H Its shape， more a rhomboid than a square， was intended to counteract the effects of The major Florentine architectural projects by Michelangelo are the unexecuted façade for the Basilica of San Lorenzo， Florence and the Medici Chapel (Capella Medicea) and Laurentian Library there， and the fortifications of FThe major Roman projects are S Peter's， Palazzo Farnese， San Giovanni de' Fiorentini and the Sforza Chapel (Capella Sforzesca)， Porta Pia and Santa Maria degli A[edit] Laurentian LibraryAround 1530 Michelangelo designed the Laurentian Library in Florence， attached to the church of San L He produced new styles such as pilasters tapering thinner at the bottom， and a staircase with contrasting rectangular and curving [edit] Medici ChapelMain article: Medici ChapelMichelangelo designed the Medici C The Medici Chapel has monuments in it dedicated to certain members of the Medici Michelangelo never finished it， so his pupils later completed Lorenzo the Magnificent was buried at the entrance wall of the Medici C Sculptures of the "Madonna and Child" and the Medici patron saints Cosmas and Damian were set over his The "madonna and child" was Michelangelo's own [edit] Michelangelo the manMichelangelo， who was often arrogant with others and constantly dissatisfied with himself， saw art as originating from inner inspiration and from In contradiction to the ideas of his rival， Leonardo da Vinci， Michelangelo saw nature as an enemy that had to be The figures that he created are forceful and dynamic; each in its own space apart from the outside For Michelangelo， the job of the sculptor was to free the forms that were already inside the He believed that every stone had a sculpture within it， and that the work of sculpting was simply a matter of chipping away all that was not a part of the
还是自己写安全，现在时间过了，只能补交。浙大报道
雕塑大师米开朗基罗简介 米开朗基罗·博那罗蒂(Michelangelo Bounaroti， 1475－1564)，意大利文艺复兴时期伟大的绘画家、雕塑家和建筑师，文艺复兴时期雕塑艺术最高峰的代表。1475年3月6日生于佛罗伦萨附近的卡普莱斯，父亲是奎奇市和卡普莱斯市的自治市长。他13 岁进入佛罗伦萨画家基尔兰达约（Ghirlandaio）的工作室，后转入圣马可修道院的美第奇学院作学徒。1496年，米开朗基罗来到罗马，创作了第一批代表作《酒神巴库斯》和《哀悼基督》等。1501年，他回到佛罗伦萨，用了四年时间完成了举世闻名的《大卫》。1505年在罗马，他奉教皇尤里乌斯二世之命负责建造教皇的陵墓，1506年停工后回到佛罗伦萨。1508年，他又奉命回到罗马，用了四年零五个月的时间完成了著名的西斯廷教堂天顶壁画。1513年，教皇陵墓恢复施工，米开朗基罗创作了著名的《摩西》、《被缚的奴隶》和《垂死的奴隶》。1519－1534年，他在佛罗伦萨创作了他生平最伟大的作品——圣洛伦佐教堂里的美第奇家族陵墓群雕。1536年，米开朗基罗回到罗马西斯廷教堂，用了近六年的时间创作了伟大的教堂壁画《末日审判》。之后他一直生活在罗马，从事雕刻、建筑和少量的绘画工作，直到1564年2月18日逝世于自己的工作室中。米开朗基罗代表了欧洲文艺复兴时期雕塑艺术的最高峰，他创作的人物雕像雄伟健壮，气魄宏大，充满了无穷的力量。他的大量作品显示了写实基础上非同寻常的理想加工，成为整个时代的典型象征。他的艺术创作受到很深的人文主义思想和宗教改革运动的影响，常常以现实主义的手法和浪漫主义的幻想，表现当时市民阶层的爱国主义和为自由而斗争的精神面貌。米开朗基罗的艺术不同于达·芬奇的充满科学的精神和哲理的思考，而是在艺术作品中倾注了自己满腔悲剧性的激情。这种悲剧性是以宏伟壮丽的形式表现出来的，他所塑造的英雄既是理想的象征又是现实的反应。这些都使他的艺术创作成为西方美术史上一座难以逾越的高峰。 传世作品介绍: 《大卫》，云石雕像，像高5米，连基座高5米，米开朗基罗创作于公元1501－1504年，现收藏于佛罗伦萨美术学院。米开朗基罗生活在意大利社会动荡的年代，颠沛流离的生活使他对所生活的时代产生了怀疑。痛苦失望之余，他在艺术创作中倾注着自己的思想，同时也在寻找着自己的理想，并创造了一系列如巨人般体格雄伟、坚强勇猛的英雄形象。《大卫》就是这种思想最杰出的代表。大卫是圣经中的少年英雄，曾经杀死侵略犹太人的非利士巨人哥利亚，保卫了祖国的城市和人民。米开朗基罗没有沿用前人表现大卫战胜敌人后将敌人头颅踩在脚下的场景，而是选择了大卫迎接战斗时的状态。在这件作品中，大卫是一个肌肉发达，体格匀称的青年壮士形象。他充满自信地站立着，英姿飒爽，左手拿石块，右手下垂，头向左侧转动着，面容英俊，炯炯有神的双眼凝视着远方，仿佛正在向地平线的远处搜索着敌人，随时准备投入一场新的战斗。大卫体格雄伟健美，神态勇敢坚强，身体、脸部和肌肉紧张而饱满，体现着外在的和内在的全部理想化的男性美。这位少年英雄怒目直视着前方，表情中充满了全神贯注的紧张情绪和坚强的意志，身体中积蓄的伟大力量似乎随时可以爆发出来。与前人表现战斗结束后情景的习惯不同，米开朗基罗在这里塑造的是人物产生激情之前的瞬间，使作品在艺术上显得更加具有感染力。他的姿态似乎有些象是在休息，但躯体姿态表现出某种紧张的情绪，使人有强烈的“静中有动”的感觉。雕像是用整块的石料雕刻而成，为使雕像在基座上显得更加雄伟壮观，艺术家有意放大了人物的头部和两个胳膊，使的大卫在观众的视角中显得愈加挺拔有力，充满了巨人感。这尊雕像被认为是西方美术史上最值得夸耀的男性人体雕像之一。不仅如此，《大卫》是文艺复兴人文主义思想的具体体现，它对人体的赞美，表面上看是对古希腊艺术的“复兴”，实质上表示着人们已从黑暗的中世纪桎梏中解脱出来，充分认识到了人在改造世界中的巨大力量。米开朗基罗在雕刻过程中注入了巨大的热情，塑造出来的不仅仅是一尊雕像，而是思想解放运动在艺术上得到表达的象征。作为一个时代雕塑艺术作品的最高境界，《大卫》将永远在艺术史中放射着不尽的光辉。