"Michelangelo" Quotes from Famous Books
 ... crescent. That the world should know Marlowe and Giorgione, Raphael and Mozart, only by the products of their early manhood, is indeed a cause for lamentation, when we remember what the long lives of a Bach and Titian, a Michelangelo and Goethe, held in reserve for their maturity and age. It is of no use to persuade ourselves, as some have done, that we possess the best work of men untimely slain. Had Sophocles been cut off in his prime, before ...
— Percy Bysshe Shelley • John Addington Symonds
... great and special beauty further recommends this country to the artist. The field was chosen by men in whose blood there still raced some of the gleeful or solemn exultation of great art - Millet who loved dignity like Michelangelo, Rousseau whose modern brush was dipped in the glamour of the ancients. It was chosen before the day of that strange turn in the history of art, of which we now perceive the culmination in impressionistic tales and pictures - that voluntary ...
— Across The Plains • Robert Louis Stevenson
... beasts, the people must have horrors on the stage, in literature, in art, and, above all, in the daily press. Shakspere knew that, and Michelangelo, who is the Shakspere of brush and chisel, knew it also, as those two unrivalled men seem to have known everything else. And so when Michelangelo painted the Last Judgment, and Shakspere wrote Othello (for instance), they both made use of horror in a way the Greeks would not have tolerated. ...
— Doctor Claudius, A True Story • F. Marion Crawford
... ready to conciliate 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 ...
— The Best of the World's Classics, Restricted to Prose, Vol. VIII (of X) - Continental Europe II. • Various
... a good portrait by Hunt. Mr. Appleton called it 'big art,' which took my fancy, it being so refreshing after hearing so much said about 'high art.' There is a portrait of Hunt by himself, which has a line about the brow that is Michelangelic; 'the bars of Michelangelo.' A head of Fremont was handsome, but showing a man incapable of large combinations. He looks eagle-like and loyal and brilliant, but not wise. We felt quite glorious with the war news, and were ...
— Memories of Hawthorne • Rose Hawthorne Lathrop
... 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 for Bluecher, ...
— Seeing Europe with Famous Authors, Volume 4 (of 10) • Various
... Perugia for yourself, you will realize how strongly it took hold of the imagination of the young painter. Raphael had a most impressionable mind. It was part of his genius that, from every painter with whom he came in contact he imbibed the best, almost without knowing it. The artists of his day, Michelangelo, Leonardo da Vinci, and the other great men, were each severally employed in working out once and for all some particular problem in connection with their art. Michelangelo, a giant in intellect, painter, sculptor, architect, and ...
— The Book of Art for Young People • Agnes Conway
... The long and laborious study demanded by the sculptor's profession subdued for a long time Sarrasine's impetuous temperament and unruly genius. Bouchardon, foreseeing how violently the passions would some day rage in that youthful heart, as highly tempered perhaps as Michelangelo's, smothered its vehemence with constant toil. He succeeded in restraining within reasonable bounds Sarrasine's extraordinary impetuosity, by forbidding him to work, by proposing diversions when he saw that he was on the point of plunging into dissipation. ...
— Sarrasine • Honore de Balzac
... my entrance 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
... exemplar of the grand style. It is because his art is so old that it was "too new" for even Corot to understand it; because he harked back beyond the pseudoclassicism of his time to the great art of the past, and was classic as Phidias and Giotto and Michelangelo were classic, that he seemed strange to his contemporaries. In everything he was conservative. He hated change; he wanted things to remain as they had always been. He did not especially pity the hard lot of the peasant; he considered it the natural and inevitable lot of man ...
— Artist and Public - And Other Essays On Art Subjects • Kenyon Cox
... or not. But first let me make it plain that I am not assuming that all the great monuments of human genius are literary. I am not forgetful of the fact that literature is only one of the fine arts, that the Strassburg Cathedral, Beethoven's Ninth Symphony, Rembrandt's School of Anatomy, Michelangelo's Moses are all products of man's creative genius, records of the life of God in the soul of man. But I do insist that literature is the most inclusive and the most definite of all the arts, and that therefore books unlock to us a vaster ...
— The Booklover and His Books • Harry Lyman Koopman
... trick, not a habit, not a trade—this modernity—and that with fashions it has nothing to do; that it is explicitly a part of our modern urge toward expression quite as much as the art of Corot and Millet were of Barbizon, as the art of Titian, Giorgione and Michelangelo were of Italy; that he and his time bear the strictest relationship to one another and that through this relationship he can best build up his own original power. Unable to depend therefore upon the confessedly untutored lay writer or even the better class essayist to ...
— Adventures in the Arts - Informal Chapters on Painters, Vaudeville, and Poets • Marsden Hartley
... 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, ...
— The Second Class Passenger • Perceval Gibbon
... di Michelangelo Buonarroti, Scritta da A.C. suo discepolo. Pisa, 1746. First edition ...
— Michael Angelo Buonarroti • Charles Holroyd
... of the Sistine Chapel, however, is Michelangelo's "Last Judgement," which was added later, in the reign of Pope Julius II (Giuliano ...
— The Life of Cesare Borgia • Raphael Sabatini
... 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
... the presentation of the tragic passion of the human soul in King Lear has only once been equalled, and that is in the dreadful beauty and horror of the Night and Day, the Evening and the Morning of Michelangelo. ...
— The Unity of Civilization • Various
... busy suggesting itself, not through ideas, or the forms of intellection, but through the more subtle perceptions and emotions that lie behind. It gives us, if we are at all gifted or educated to see, pure vistas of Itself. Compare Michelangelo's Moses with the Dai Butsu at Kamakura:—as I think Dr. Siren does in one of his lectures. The former is a thing of titanic, even majestic energies; but they are energies physical and mental: a grand triumph on what is called in Sanskrit philosophy the Rajasic plane. The second ...
— The Crest-Wave of Evolution • Kenneth Morris
... 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 ...
— The Renaissance: Studies in Art and Poetry • Walter Horatio Pater
... the religious art of the preceding period, with that of Masaccio, of Piero de Cosimo, his senior student in the studio of Cosimo Roselli, and at last with that of the definitely "modern" painters of the Renaissance, Raphael, Leonardo and Michelangelo himself, is a transition painter in this supreme period. Technique and the work of hand and brain are rapidly taking the place of inspiration and the desire to convey a message. The aesthetic sensation is becoming an end in itself. The scientific ...
— Fra Bartolommeo • Leader Scott (Re-Edited By Horace Shipp And Flora Kendrick)
... drove callously away from Santa Maria Maggiore to San Pietro in Vincoli, where I expected to renew my veneration for Michelangelo's Moses. That famous figure is no longer so much in the minds of men as it used to be, I think; and, if one were to be quite honest with one's self as to the why and wherefore of one's earlier veneration, one ...
— Roman Holidays and Others • W. D. Howells
... power that in his own time he was surpassed by none; therefore it is that he has not only been always praised by Michelangelo, but in many particulars ...
— Six Centuries of Painting • Randall Davies
... lacking among the author's illustrations, but the Keeper of the Ashmolean Museum remembers his repeatedly showing special interest in the sketch reproduced in John Addington Symonds's Life of Michelangelo, London, 1893, Vol. I, p. 44, and in Charles Singer's Studies in the History and Method of Science, Oxford, 1917, Vol. I, p. 97, representing Michael Angelo and a friend dissecting the body of a man, by the light of a candle fixed in ...
— The Evolution of Modern Medicine • William Osler
... be lost to sight in the naturalistic 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 the meantime, ...
— Concerning the Spiritual in Art • Wassily Kandinsky
... 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. One remembers ...
— The Pleasures of Ignorance • Robert Lynd
... there is between the accent of Erasmus and that of Luther, Calvin, and Saint Teresa! What a difference, also, between his accent, that is, the accent of humanism, and that of Albrecht Duerer, of Michelangelo, or ...
— Erasmus and the Age of Reformation • Johan Huizinga
... of Pope Leo X. in 1521, his executor Cardinal Giulio dei Medici, afterwards Pope Clement VII., restored to Florence the books which their ancestors had got together, and commissioned Michelangelo to build a room for their reception. The work was frequently interrupted, and it was not until 1571 (11 June) that ...
— The Care of Books • John Willis Clark
... Sistine Chapel, where they had had a long discussion on the merits of Michelangelo, Caesar met the painter Cortes, who came to ...
— Caesar or Nothing • Pio Baroja Baroja
... his own interests, except when they joined in a shout of mockery and welcome for some new-comer. Colville, at his risotto, almost the room's length away, could hear what they thought, one and another, of Botticelli and Michelangelo; of old Piloty's things at Munich; of the dishes they had served to them, and of the quality of the Chianti; of the respective merits of German and Italian tobacco; of whether Inglehart had probably got to Venice yet; of the personal habits of Billings, ...
— Indian Summer • William D. Howells
... we must work, and not lose heart. Go, and let your light so shine before men that they may see your good things, and glorify me by knowing that I am light and no darkness'!—what then? Oh that lovely picture by Michelangelo, with the young ones and the little ones come to ...
— Unspoken Sermons - Series I., II., and II. • George MacDonald
... Venice—the Greek and the Venetian types. But I have heard that the Michelangelo was ...
— A Golden Book of Venice • Mrs. Lawrence Turnbull
... it was very steep, and the last part of it was the long flight of steps which still leads up from the Tre Cannelle and comes out close to the little church of San Silvestro, where the great and good Vittoria Colonna once met Michelangelo. ...
— Stradella • F(rancis) Marion Crawford
... 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 Titans and heaven-storming giants before the mild ...
— The German Classics of the Nineteenth and Twentieth Centuries: - Masterpieces of German Literature Translated into English, Volume 5. • 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 ...
— Mountain Meditations - and some subjects of the day and the war • L. Lind-af-Hageby
... is not vice: it is as good to me as it was to Caesar, Alexander, Michelangelo and Shakespeare. It was first of all made a sin by monasticism, and it has been made a crime in recent times, by the Goths—the Germans and English—who have done little or nothing since to refine or exalt the ideals of humanity. They all damn the sins they have no ...
— Oscar Wilde, Volume 2 (of 2) - His Life and Confessions • Frank Harris
... still farther, the grand artery of the Corso Victor-Emmanuel demonstrated the effort at regeneration of present Rome; two paces farther yet, the Palais Farnese recalls the grandeur of modern art, and the tragedy of contemporary monarchies. Does not the thought of Michelangelo seem to be still imprinted on the sombre cross-beam of that immense sarcophagus, which was the refuge of the last King of Naples? But it requires a mind entirely free to give one's self up to the charm of historical ...
— Cosmopolis, Complete • Paul Bourget
... the world a great and splendid work—for one thing, he discovered Michelangelo—and the encouragement he gave to the arts made Florence the beautiful dream in stone that she is even ...
— Little Journeys to the Homes of the Great, Volume 7 - Little Journeys to the Homes of Eminent Orators • Elbert Hubbard |
