Michelangelo in Naples
May 9th, 2009 | by Anna |From Monday 11 May, the wooden crucifix by Michelangelo to be at Naples, at the Diocesan Museum. The exhibition, "Michelangelo in Naples. Found the Christ ", will be inaugurated by Minister for Arts and Culture, Francesco Giro, and Cardinal Sepe of Naples. At the opening ceremony attended by the Superintendent of the State Museums of Florence, Cristina Acidini, the Director of the Vatican Museums, Antonio Paolucci, the director of the Diocesan Museum, Don Adolfo Russo, editor of the catalog of the Diocesan Museum, Pierluigi de Castris.
The wooden crucifix attributed to Michelangelo Buonarroti young great teacher and recently acquired the artistic heritage of the State by the Ministry for Cultural Heritage, has already enjoyed great success in exhibitions in Rome, Palermo, Trapani and Milan. The uniqueness of the work is manifested in its perfect proportions, inscribed in a circle and a square known as the Vitruvian Man, and anatomical correctness and sculptural quality. The work was completed around 1495 when Michelangelo was just twenty.
The crucifix protrà be admired at the Diocesan Museum in Largo Donnaregina in Naples until July 12.
Source: MIBAC
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One Response to "Michelangelo in Naples"
By FRANCIS BUFFA DESIGNER on May 31, 2009 | Reply
LOOK CAREFULLY THE CRUCIFIX GIA 'EXPOSED IN THE HALL OF THE PALACE OF QUEEN MONTECITORIO THAT CERTAIN WISH GRANTED TO MICHELANGELO - THAT WORK WITH EXPRESSION simplistic "GRANT" AND' GIA 'EURO 3,250,000 COST TO TAXPAYERS AND THAT CERTAINLY HAS PROCURED NOT REGRET WHO HAS ABANDONED THIS "EXCEPTIONAL" PROPERTIES '- I HAVE HAD THE CERTAINTY THAT IMMEDIATELY beyond the indisputable QUALITY' OF INVOICE (mysteriously INTACT DESPITE A NUMBER OF RESTORATION UNCONTROLLABLE STRUCTURAL AND CHROMATIC THAT THE WOOD AND CHROMATIC PIGMENTS BOUND FOR EVER NEED ), THE HAND AND THE ART EXTRAORDINARY OF MICHELANGELO, LEGIBILI EASILY - OWN PRODUCTION WELL DOCUMENTED AND ALWAYS RECOGNISABLE, FOR THE DISTINCTIVE STRENGTH THAT ONLY ABLE TO TRANSMIT THE GREAT FOREVER - ABSOLUTELY ARE ABSENT. Sadly ARE PERSONALLY BELIEVES THAT THE "DISCOVERY OF THE CROSS OF MICHELANGELO" IS IN THE BEST CASE OF A SUGGESTION INVOLONTARIARMENTE PRODUCED FROM WHICH EVERYONE media personalities - IN THEIR CULTURE AND INTELLIGENCE - CAN 'BELIEVE OR NOT. BECAUSE 'THE ART TRUE TO DATE HAS NOT NEEDED FOR EXCLUSIVE POWERS, FORTUNATELY, THE HISTORY OF UNIVERSAL ALWAYS HAS REVEALED IN TIME - WITH SIMPLE TOOLS FOR EVEN MORE UNDERSTANDABLE' SIMPLE - ONE TRUTH 'THAT BELONGS TO ALL THAT AND CERTAINLY NOT And 'CAPITAL FOR A FEW EXCLUSIVE "Illuminati" who profess to be, WELL TESTED THROUGH MULTIMEDIA TOOLS FOR REASONS WHICH HAVE EASY ACCESS FOR guessed, UNIQUE TO KNOW WHAT THE SPONSORS AND' ONLY THE SOLE RIGHT TO MANAGE THE REALITY 'HISTORY. THE REAL GREAT WORKS OF MICHELANGELO HAVE ALWAYS TOLD NO AGENTS, FOR 'THE ART OF REAL TALK ONLY, AND NOT WITH SIMPLE TOOLS IN NEED OF A FEW connoisseurs who "generously" The PROVE IT BELONGS, THAT'S WHY' AND 'THE UNIVERSAL HERITAGE HUMANITY '. WHO LOVES ART, I REALLY MAKES GREAT MASTERPIECES, WE WILL DO - WITH REGARD TO THIS DISCOVERY - THE BEST OF THE CASE AND 'EVEN HARMFUL TO SUGGESTION MAYFLY "DISTRACTED", CULTURE AND HISTORY OF THE ROYAL, BY WHICH SOONER OR LATER, SOME ACTORS media, WILL INEVITABLY ACCOUNTS. ARE COMPLETELY AGREE WITH EVEN AS PUBLISHED BY THE FAMOUS HISTORY OF ART MAURITIUS MARINE, IN published "The Time - December 23, 2008" I feel obliged to WRITE THAT IN FULL:
"I know the" crucified "when, in 2004, borrowed from` antiquarian Gallino, was exhibited at the Museo Horne in Florence. Even then it aroused in me no curiosity about all `high-sounding" Proposal for the young Michelangelo - A linden wood crucifix `; for when supported by authoritative scholars. Beyond the formal sgrammaticature inconceivable to Buonarroti, in every moment of existence, the biggest gap relates to the total absence of documentary references and, therefore, philological. That is verifiable. A sculpture of Michelangelo, also tiny, would not have escaped the biographical sources that have dealt with him and his work. We therefore accept that, beyond any document, the `one size fits both the opera house. But it is precisely here that the black hole is filled with an image that `Michelangelo has nothing to do! There `s no reflection, as it would seem plausible to an early date, that of Bertoldo di Giovanni (himself a student of Donatello) who was his teacher. Conversely, the face shows an explicit somatic late humanism and anatomical structure presents unacceptable disparities: the chest is too narrow compared to the volume of the thighs, beside which are too small calves and feet themselves. For a sculpture that was to be observed at close range or on top of a cross to a private Pregadio, the mistake is staggering! No relationship with that masterpiece, a mixture of strength and gentleness, which is the "Holy Spirit Crucifix". For sculturina, the subject of these notes, I think the author must be sought among the members of the academic vogue not yet share the tragic expressionism veiled melancholy that is peculiar to Michelangelo and which refers to Benedetto da Majano, and even more, Baccio da Montelupo. Precisely this latter covered the thighs in excess of its "crucified" with a cloth soaked in plaster, absent here, with which ebbed regarding illegal. How to conclude? That is disproportionate to the amount paid for the purchase, 3 million and 250 thousand euros. L `is already operating at 300 000 euros would have been overpaid."
FRANCIS BUFFA DESIGNER