Description

In late 1504 and early 1505, Leonardo da Vinci (1452–1519) and Michelangelo Buonarroti (1475–1564) were both at work on commissions they had received to paint murals in Florence’s City Hall. Leonardo was to depict a historic battle between Florence and Milan, Michelangelo one between Florence and Pisa. Though neither project was ever completed, the painters’ mythic encounter shaped art and its history in the decades and centuries that followed.

This concise, lucid, and thought-provoking book looks again at the one moment when Leonardo and Michelangelo worked side by side, seeking to identify the roots of their differing ideas of the figure in 15th-century pictorial practices and to understand what this contrast meant to the artists and writers who followed them. Through close investigation of these two artists, Michael W. Cole provides a new account of critical developments in Italian Renaissance painting.

Leonardo, Michelangelo, and the Art of the Figure

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Hardback by Michael W. Cole

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Short Description:

In late 1504 and early 1505, Leonardo da Vinci (1452–1519) and Michelangelo Buonarroti (1475–1564) were both at work on commissions... Read more

    Publisher: Yale University Press
    Publication Date: 22/01/2015
    ISBN13: 9780300208207, 978-0300208207
    ISBN10: 0300208200

    Number of Pages: 192

    Non Fiction , Art & Photography

    Description

    In late 1504 and early 1505, Leonardo da Vinci (1452–1519) and Michelangelo Buonarroti (1475–1564) were both at work on commissions they had received to paint murals in Florence’s City Hall. Leonardo was to depict a historic battle between Florence and Milan, Michelangelo one between Florence and Pisa. Though neither project was ever completed, the painters’ mythic encounter shaped art and its history in the decades and centuries that followed.

    This concise, lucid, and thought-provoking book looks again at the one moment when Leonardo and Michelangelo worked side by side, seeking to identify the roots of their differing ideas of the figure in 15th-century pictorial practices and to understand what this contrast meant to the artists and writers who followed them. Through close investigation of these two artists, Michael W. Cole provides a new account of critical developments in Italian Renaissance painting.

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