The Paragone and the Art of Michelangelo
The purpose of Renaissance debates about the relative merits of the arts, known as the paragone, was far from negligible. Michelangelo himself only reluctantly took part in the debate over which art, painting or sculpture, was the superior. However, in his conversations with Francisco De Hollanda, h...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sixteenth Century Journal Publishers, Inc.
1990
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| In: |
The sixteenth century journal
Year: 1990, Volume: 21, Issue: 1, Pages: 87-92 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a The purpose of Renaissance debates about the relative merits of the arts, known as the paragone, was far from negligible. Michelangelo himself only reluctantly took part in the debate over which art, painting or sculpture, was the superior. However, in his conversations with Francisco De Hollanda, he shows a real engagement with another paragone, Horace's parallel between poet and painter. Claiming the freedom of the poet for the painter and sculptor, Michelangelo subjects it to the limitation implicit in the artist's true vocation, which is to imitate the works of God. | ||
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