CHARLES DE TOLNAY MICHELANGELO PDF

Besides presenting an enormous amount of information, this large work contains many original interpretations which are extremely controversial among his scholarly colleagues. But the present small book is not, as its title perhaps suggests, a summary version of the large one. It is a special monograph on one aspect of the artist, which might be called—though the term is awkward—his ideology. Tolnay always challenges debate, because he draws many fresh hypotheses from material that his readers thought they knew thoroughly. Some of them, of course, are annoyed by the air of finality with which he conducts a discussion, and by the suggestion in his work that Michelangelo belongs exclusively to him.

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Besides presenting an enormous amount of information, this large work contains many original interpretations which are extremely controversial among his scholarly colleagues. But the present small book is not, as its title perhaps suggests, a summary version of the large one. It is a special monograph on one aspect of the artist, which might be called—though the term is awkward—his ideology.

Tolnay always challenges debate, because he draws many fresh hypotheses from material that his readers thought they knew thoroughly. Some of them, of course, are annoyed by the air of finality with which he conducts a discussion, and by the suggestion in his work that Michelangelo belongs exclusively to him.

Tolnay has presented his views again and again in different contexts large and small books, articles in professional journals, lectures, encyclopedia entries, all in many languages , and in the process, some of these views seem to have developed a self-demonstrating quality beyond their intrinsic persuasiveness.

But Tolnay goes further, and describes the David as having an angry expression—an interpretation different from those of many other observers. Both propositions are difficult to accept. Moreover, earlier Florentine sculptors were suggesting David as a civic defender; and many writers before Machiavelli saw him so as Tolnay himself remarks. This Christ is similar to an ancient Apollo, who is the sun god, and hence, he… This is exclusive content for subscribers only.

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Charles de Tolnay: il Corpus dei disegni miei

He was the son of Arnold von Tolnai, an official of the Hungarian administration. In , he began studying art history and archaeology as Karl Tolnai in Germany, first at the University of Berlin under Adolph Goldschmidt , then at the University of Frankfurt under Rudolf Kautzsch. In he made a hundred-day journey to Italy, visiting Florence and Rome, where he was struck by the art of Michelangelo. He then moved to Rome, where he did much research at the Bibliotheca Hertziana. Between and , he taught art history at the Sorbonne, Paris , where he changed his name to Charles de Tolnay. In , he immigrated to the United States, where he became a citizen in , working at the Institute for Advanced Study , Princeton, New Jersey , for some years. According to Ernest H.

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The Youth of Michelangelo

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