"Michelangelo" Quotes from Famous Books
 ... a collection of prints from the works of Michelangelo, it is impossible to secure any wide variety, either in subject or method of treatment. We are dealing here with a master whose import is always serious, and whose artistic individuality is strongly impressed ...
— Michelangelo - A Collection Of Fifteen Pictures And A Portrait Of The - Master, With Introduction And Interpretation • Estelle M. Hurll
... 350, 351. As to Dante's deep religious feeling and belief in his own divine mission, see J. R. Lowell, Among my Books, vol. i, p. 36. For a remarkable series of coloured engravings, showing Dante's whole cosmology, see La Materia della Divina Comedia di Dante dichiriata in vi tavole, da Michelangelo Caetani, published by the monks of Monte Cassino, to whose kindness I am indebted ...
— History of the Warfare of Science with Theology in Christendom • Andrew Dickson White
... the Piazza of Michelangelo and saw Florence, like a city of dim, red gold extended beneath them. The setting sunlight wove an enchantment over towers and roofs. It spread a veil of ineffable brightness upon the city and tinged green Arno also, where the river wound ...
— The Grey Room • Eden Phillpotts
... repudiating marriage, yet himself most happily married and the father of sixteen children; holding that Aeschylus and Dante and Shakspere were not great in literature, and making Adin Ballou a literary idol; holding that Michelangelo and Raphael were not great in sculpture and painting, yet insisting on the greatness of sundry unknown artists who have painted brutally; holding that Beethoven, Handel, Mozart, Haydn, and Wagner were not great in music, but that some unknown performer ...
— Autobiography of Andrew Dickson White Volume II • Andrew Dickson White
... a visual-minded public and for those who would be its leaders. A long, long line of picture-readers trailing from the dawn of history, stimulated all the masterpieces of pictorial art from Altamira to Michelangelo. For less than five centuries now Gutenberg has had them scurrying to learn their A, B, C's, but they are drifting back to their old ways again, and nightly are forming themselves in cues at the doorways of the "Isis," the "Tivoli," ...
— The Art Of The Moving Picture • Vachel Lindsay
... Pietro Bembo, set a high value on her powers of criticism; other men, almost as distinguished as the Venetian cardinal, besought her for advice on literary subjects. Foremost in her circle of admirers appears of course the great Michelangelo, with whom the immaculate Vittoria condescended to indulge in one of those cold platonic pseudo-passions which constituted the true divino amore of the idealists of the Renaissance. So here was nothing to cavil at, nothing to arouse base suspicion. ...
— The Naples Riviera • Herbert M. Vaughan
... of artists of the day, exhibited under the Exposition's rule which limits competition in all departments to current production. This explains, for instance, why the French Government has placed its Meissoniers and Detailles, with Rodin's bronzes, in the French Pavilion. A Michelangelo, works of Benvenuto Cellini, and many old paintings and statues are in the beautiful Italian Pavilion. Other paintings of value are in the Belgian section of the French Pavilion, and in the ...
— The Jewel City • Ben Macomber
... people who lived down there. Just back of that new building is the very spot where Romulus would have lived if he had ever existed. On those very streets Scipio Africanus walked, and Caesar and Cicero and Paul and Marcus Aurelius, and Epictetus and Belisarius, and Hildebrand and Michelangelo, and at one time or another about every one you ever heard of. And how many people came to get emotions they couldn't get anywhere else! There was Goethe. How he felt! He took it all in. And there was Shelley writing poetry in the Baths of Caracalla. ...
— Humanly Speaking • Samuel McChord Crothers
... Lost, although there is little resemblance to Elisabethan work—such as one notices in Comus and the {161} Christmas hymn—yet the style is rich, especially in the earlier books. But in Paradise Regained it is severe to bareness, and in Samson, even to ruggedness. Like Michelangelo, with whose genius he had much in common, Milton became impatient of finish or of mere beauty. He blocked out his work in masses, left rough places and surfaces not filled in, and inclined to express his meaning by a symbol, rather than work it ...
— Brief History of English and American Literature • Henry A. Beers
... he made many friends among the rich connoisseurs of the time, and that his importance was out of proportion to his real merit. Marcantonio Michele, writing an account of Raphael's last days to a friend in Venice, and touching on Michelangelo's illness, begs him to see that Catena takes care of himself, "as the times are unfavourable to great painters." Catena had acquired and inherited considerable wealth; he came of a family of merchants, and resided in his own house in San ...
— The Venetian School of Painting • Evelyn March Phillipps
... Shakespeare nor Shelley could have walked. It may be that they would have had no desire to walk along it, but in any case Blondin was able to feel that he could beat the greatest of men in at least one game. In his own business he stood above the Apostle Paul and Michelangelo and Napoleon. He was a king and, even if you did not envy him his trade, you had to envy him his throne. He was a man you would have liked to meet at dinner, not for the sake of his conversation, but for the sake of his uniqueness. ...
— The Pleasures of Ignorance • Robert Lynd
... first-rate Millet or Corot or Meissonier in the neighborhood I wish somebody would drop me a line, giving the address. As for pictures by Tintoretto, showing Venetian Doges hobnobbing informally with members of the Holy Family, and Raphael's angels, and Michelangelo's lost souls, and Guidos, and Murillos, I have had enough to do me for months and months and months. Nor am I in the market for any of the dead fish of the Flemish school. Judging by what I have observed, practically all the Flemish painters were ...
— Europe Revised • Irvin S. Cobb
... see it at its best in architecture, sculpture, and painting. And we cannot help admiring it, for it is amazingly beautiful. Yet it is not Italian—the Italian of the Medici and Farnese palaces. Il Rosso was neither a Michelangelo nor a Carracci; but he set a fashion. He changed the face of art for France. Nor was it in painting and sculpture only. The Italian passion for devises, anagrams, emblems, and mottoes became the rage in Paris. It first came in with the return of Charles ...
— Illuminated Manuscripts • John W. Bradley
... will make possible the works of mercy of the Italian Red Cross, and secondly because it is in itself an admirable book—the most distinguished, I think, of any of its kind published here during the War. It tells us something of the great Italian creators and liberators, DANTE, LEONARDO, MICHELANGELO, MAZZINI, GARIBALDI, CAVOUR—too little perhaps of MAZZINI, than whom no movement for liberty ever had a nobler or a saner prophet. Of the good things, besides the contributions of distinguished Italians (a particularly interesting ...
— Punch, or the London Charivari, Vol. 150, May 3, 1916 • Various
... in the doing nor ruin after they are done finds anything in them to betray. There was never any disgrace of means, and when the world sees the work broken through there is no disgrace of discovery. The labour of Michelangelo's chisel, little more than begun, a Roman structure long exposed in disarray—upon these the light of day looks full, and the Roman and the Florentine have ...
— Essays • Alice Meynell
... for a person who is sympathetically comprehended by that fatherland. And this is the case with Bjoernson. It is a matter dependent on conditions deeply rooted in his nature. He who cherishes so profound an enthusiasm for the reserved, solitary Michelangelo, and who feels constrained, as a matter of course, to place him above Raphael, is himself a man of a totally different temperament: one who is never lonely, even when most alone (as he has been since 1873 on his gard in remote Gausdal), but who is social to the core, or, ...
— Library Of The World's Best Literature, Ancient And Modern, Vol. 5 • Various
... wearing yellow diamonds and riding about in flivvers. That must be admitted. But to have lived in those days when ambition thought only in beauty! To have been the boon companions of men like Da Vinci, Cellini, Michelangelo! Then there are the adventures of this concrete dream of the artist. I can trace it back to the bare studio in which it was conceived, follow its journeys, its abiding places, down to the hour it comes ...
— The Pagan Madonna • Harold MacGrath
... some purely literary, which were well attended. Some lectures on Shakespeare were crowded; and even I found much indulgence in reading, last winter, some Biographical Lectures, which were meant for theories or portraits of Luther, Michelangelo, Milton, George Fox, Burke. These courses are really given under the auspices of Societies, as "Natural History Society," "Mechanics' Institutes," "Diffusion of Useful Knowledge," &c., &c., and the fee to the lecturer is ...
— The Correspondence of Thomas Carlyle and Ralph Waldo Emerson, - 1834-1872, Vol. I • Thomas Carlyle and Ralph Waldo Emerson
... at the feet of each generation, be made so unnecessarily cruel and impassable to these bewildered immigrants? Suddenly I looked up and saw the old woman with her distaff, sitting in the sun on the steps of a tenement house. She might have served as a model for one of Michelangelo's Fates, but her face brightened as I passed and, holding up her spindle for me to see, she called out that when she had spun a little more yarn, she would knit a pair of stockings for her goddaughter. The occupation ...
— Twenty Years At Hull House • Jane Addams
... the hill summoned, and, to some extent, compelled to obey, the despot going so far as even to tyrannize over the battle-field; faith in a star, blended with strategic science, heightening, but troubling it. Wellington was the Bareme of war, Napoleon was its Michelangelo, and this true genius was conquered by calculation. On both sides somebody was expected; and it was the exact calculator who succeeded. Napoleon waited for Grouchy, who did not come; Wellington waited ...
— The Best of the World's Classics, Restricted to Prose, Vol. VII (of X)—Continental Europe I • Various
... formal obstacles. It builds, destroys, and rebuilds. It may take a million years to fashion a useful organ. Slowness is no deterrent. The powers that shaped the genius of Michelangelo and Shakespeare out of the rude brain of savage man needed time, but the achievement was worthy of the labour. To-day there are signs and portents that psychic faculties once possessed by the very few are in process of development in the many, that new senses are awakened which will find contact ...
— Mountain Meditations - and some subjects of the day and the war • L. Lind-af-Hageby
... If a Pericles were to appear among us, he would be discredited by the very qualities which made him the foremost public man of his time among the most intelligent and gifted people who have yet striven to solve the problems of life. If Michelangelo came among us, he would be compelled to repress his tremendous energy or face the suspicion of the critical mind of the age; it is not permitted a man, in these days, to excel in painting, sculpture, architecture, and sonnet-writing. If, in addition, such ...
— Essays On Work And Culture • Hamilton Wright Mabie
... and constantly giving evidence of the most refined consideration for all persons, and under every circumstance. The world received the gift of this artist from the hand of Nature, when, vanquished by Art in the person of Michelangelo, she deigned to be subjugated in that of Raphael, not by art only but by goodness also. And of a truth, since the greater number of artists had up to that period derived from nature a certain rudeness and eccentricity, which not only rendered ...
— The Best of the World's Classics, Restricted to Prose, Vol. VIII (of X) - Continental Europe II. • Various
... merit of these reliefs, there is no doubt that they fairly represent one of the most interesting moments in the history of modern art. Gothic inspiration had failed; the early Tuscan style of the Pisani had been worked out; Michelangelo was yet far distant, and the abundance of classic models had not overwhelmed originality. The sculptors of the school of Ghiberti and Donatello, who are represented in this church, were essentially pictorial, preferring low to high relief, and ...
— Sketches and Studies in Italy and Greece, Second Series • John Addington Symonds
... strong and simple decorative aspect demanded by the position of the work as the central feature of a small church, with the utmost pathos and dignity, thus doing incomparably in his own way—the way of the colourist and the warm, the essentially human realist—what Michelangelo had, soaring high above earth, accomplished with unapproachable sublimity in the Prophets and Sibyls of the ...
— The Later works of Titian • Claude Phillips
... science, concerning the origin of such story, its primary form and import, its meaning for those who projected it. The thing sank into their minds, to issue forth again with all the tangle about it of medieval sentiment and ideas. In the Doni Madonna in the Tribune of the Uffizii, Michelangelo actually brings the pagan religion, and with it the unveiled human form, the sleepy-looking fauns of a Dionysiac revel, into the presence of the Madonna, as simpler painters had introduced there other products of the earth, ...
— The Renaissance: Studies in Art and Poetry • Walter Horatio Pater
... interrupted you in a discourse. Was it the celebrated harangue on the greatness of Michelangelo, or was it the searching analysis of ...
— The Magician • Somerset Maugham
... character of their art, have developed to perfection each particular stage by itself, so that we can find also in the history of Art the same sequence that may be pointed out in its nature—not indeed in exact order of time, but yet substantially. For thus is represented in Michelangelo the oldest and mightiest epoch of liberated Art, that in which it displays its yet uncontrolled strength in gigantic progeny; as in the fables of the symbolic Fore-world, the Earth, after the embrace of Uranus, brought forth at first ...
— The German Classics of the Nineteenth and Twentieth Centuries: - Masterpieces of German Literature Translated into English, Volume 5. • Various
... CIVOLI), LODOVICO CARDI DA(1559-1613), Italian painter, architect and poet, was born at Cigoli in Tuscany. Educated under Alessandro Allori and Santi di Tito, he formed a peculiar style by the study at Florence of Michelangelo, Correggio, Andrea del Sarto and Pontormo. Assimilating more of the second of these masters than of all the others, he laboured for some years with success; but the attacks of his enemies, and intense application to the production of a wax model ...
— Encyclopaedia Britannica, 11th Edition, Volume 6, Slice 3 - "Chitral" to "Cincinnati" • Various
... contemporaries, yet his paintings are now quite uninteresting, while the few books he wrote belong to great literature, to linger over with perpetual delight. Poetry seemed to play but a small part in the life of Michelangelo, yet his sonnets stand to-day by the side of his drawings and his marbles. Rodin has all his life been passionately immersed in plastic art; he has never written and seldom talks; yet whenever his more intimate disciples, a Judith Cladel or a Paul Gsell, have ...
— Impressions And Comments • Havelock Ellis
... afflictions. He would loll through half his days among the tombs on the Via Latina, or would loiter for hours and hours along the Appian Way. It took him weeks to summon energy to visit S. Pietro in Vincoli, although he knew that Michelangelo's "Moses" was there, and though he was weary with longing to see it. All the tense chords of Ibsen's nature were loosened. His soul was recovering, through a long and blissful convalescence, from the ...
— Henrik Ibsen • Edmund Gosse
... of the world: first, when Julius Caesar ushered in an age of light; and second, when Columbus, child of Genoa, the same city that mothered Mazzini, sailed the seas. The first Italian Renaissance we call the Age of Augustus; the second, the Age of Michelangelo. ...
— Little Journeys to the Homes of the Great, Volume 9 - Subtitle: Little Journeys to the Homes of Great Reformers • Elbert Hubbard
... the same principles of design which have from time immemorial entered into the creation of great works of art. The college freshman planning a surface design with the aid of "squared" paper is applying the same principles that guided the hand of Michelangelo as it swept across the ceiling of ...
— College Teaching - Studies in Methods of Teaching in the College • Paul Klapper
... this text, which remains as printed. The author also used alternative spelling in places (e.g. Epimethus rather than the more usual Epimetheus); this remains as printed. There is a reference to Michael Angelo on page 203 and in the Index, by which the author presumably meant Michelangelo; this has ...
— A Book of Myths • Jean Lang
... He is gone! It was a nightmare. It is true that he omitted to pay his rent—a defect of his temperament, without doubt. But the proprietor does not make these distinctions. After three weeks he would expel Michelangelo himself. The monsieur who was driven out—he resisted. He employed blasphemies, maledictions; he smote my poor husband on the nose and in the stomach—all to no purpose, for he is gone. I was overcome with grief, but what ...
— The Second Class Passenger • Perceval Gibbon
... think of Mrs. Michelangelo, in her poor mourning for one child run over and killed, wiping her tears away and going bravely to work to keep the home together for the other five until the oldest shall be old enough to take her father's place; and when, ...
— The Battle with the Slum • Jacob A. Riis
... embedded in the bank by the roadside. Then we all sat gracefully about, while Sir Lionel and the chauffeur worked—Young Nick under the car, looking sometimes like a contortionist tying himself into lover's knots, sometimes like a miniature Michelangelo lying on his back to paint a fresco. I hope, though, that Michael never had half the trouble finding his paints and brushes that Nick had to get at his tommies and jemmies, and dozens of strange little instruments. He lay with his mouth bristling with giant pins, and had the air of a conscientious ...
— Set in Silver • Charles Norris Williamson and Alice Muriel Williamson
... pupil of Calamis, and probably a relative of Praxiteles. The distinction between artist and mason, so marked in our day, scarcely existed in Greece. The mason who had talent became a noted sculptor; and the sculptor, instead of making a model in wax or plaster, set to work, like Michelangelo, on the block of marble himself. Probably sometimes, like Benvenuto Cellini, he cast his own ...
— The Legacy of Greece • Various
... revival of the Renaissance, which derived its inspiration solely from those periods of Greek and Roman art which were pre-occupied with the expression of external reality. Although the all-embracing genius of Michelangelo kept the "Symbolist" tradition alive, it is the work of El Greco that merits the complete title of "Symbolist." From El Greco springs Goya and the Spanish influence on Daumier and Manet. When it is remembered that, in ...
— Concerning the Spiritual in Art • Wassily Kandinsky
... and the apostle who carried on his work.[95] And with his understanding of material effects and sonorous matter, he built edifices, as he says, that were "Babylonian and Ninevitish,"[96] "music after Michelangelo,"[97] ...
— Musicians of To-Day • Romain Rolland |
