Quotes About Michelangelo

I am highly susceptible to the force of all truly religious music, especially to the music of my own church, the church of Shelley, Michelangelo, and Beethoven.

The Creator made Italy with designs by Michelangelo.

Death and love are the two wings that bear the good man to heaven.

You want to become aware of your thoughts and choose your thoughts carefully and you want to have fun with this, because you are the masterpiece of your own life. You are the Michelangelo of your own life. The David you are sculpting is you.

You are the masterpiece of your own life. You are the Michelangelo of your own life. The David you are sculpturing is you (Dr. Joe Vitale)

Art is always an exchange, like love, whose giving and taking can be a complex and wounding matter, according to Michelangelo

the Medicis, an Italian noble family that produced three popes and two queens of France. Cosimo the Elder was the first to rule Florence, while Lorenzo the Magnificent was a patron of the arts, with clients that included Michelangelo and Botticelli.

I'd be looking at some stony sculpture Michelangelo would have killed his grandmother to be able to do, and thinking, I don't know that color, that color doesn't exist, but like wow.

In Michelangelo was realized the grandeur of Italy struggling vainly against crushing oppression. He expressed that which was highest in it, reflecting the loftiest side of its idealism mingled with deep pessimism in his survey over life; for, wrapped in austerity, he saw mankind in heroic terms of sadness.

I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society .... these are only feelings I have, and I am the least speculative man on earth.

What I hope to convey with From the Earth to the Moon is what Andy's captured so well in this book—just how magnificent an undertaking Apollo really was. That going to the moon was not just a technological endeavor, but an artistic one, like Michelangelo's frescoes on the Sistine Chapel ceiling.

When Michelangelo finished the painting of the Sistine Chapel's ceiling, he spent the rest of his life trying to remove the paint that had poured into his sleeve.

There had been times in the last decade and a half when Vincent had been convinced he'd never exactly remember that face. And there had been times when he'd been just as convinced had never get it out of his head. That he could feel Michelangelo standing beside him, glowering as he was glowering now.

Sparks of sensation follow Michelangelo's hands as they cupped Vincent's skull and stroked his nape.

Funny how he could always tell exactly where Michelangelo's attention was, even when Angelo was pretending it was somewhere else.

Galileo died in 1642. He was buried in Florence in the Church of Santa Croce, directly opposite the tomb of Michelangelo. This is only right, since together they had remade the Renaissance world in a distinctly Platonist frame.

The Sistine ceiling contains no direct references to Christianity or Christ. Michelangelo the Platonist didn't feel the need for any, because his message is more universal. Instead all the scenes are from the Old Testament, which every Renaissance Platonist knew to be the ground zero of docta religio, the true religion shared by all peoples and faiths.

Evidently, Michelangelo was intrigued to contemplate the aftermath of his own experience of eliciting beauty from abstract rock.

By the time Michelangelo arrived in Rome, the Belvedere hill was inclined in a massive building site that would eventually yield gardens, courtyards, porticos, and an open-air sculpture loggia fit for a Christian emperor.

Marble that was still attached to the mountain vein, or freshly quarried, was considered alive because porous stone retains moisture absorbed from the ground. Quarry sap makes the marble soft, sparkling, and easy to work. After exposure to the air, this calcium-soaked water evaporates, and the stone becomes drier and harder-cotto, Michelangelo calls it in his contract.

Carey liked the fact that Michelangelo had had his nose broken as a teenager, for being too much of a smart mouth; a reminder that he was human. A badge of imperfection.

Michelangelo, however, stood apart from these musical parties. It sounds as though, even as an adolescent, he was already antisocial, reclusive and driven: constantly drawing and carving. Only such dedication could explain the rapidity of the progress he made. Within two years, he had become as skilful a sculptor in marble as any alive.

To understand Michelangelo and his art, it is necessary to accept both these truths. He believed that the sight of beautiful individuals was a path to the divine beauty and goodness of God. Simultaneously, it was a source of hopeless erotic yearning.

Early financial anxiety combined with an engrained family belief that the Buonarroti were really grander than their current circumstances would suggest goes some way to explaining Michelangelo's eccentricities. In later life he showed a strong, indeed neurotic, desire for money together with an equally powerful urge not to spend it.