Michelangelo: the spectacular artist of all time
The World of Arts
by Gwen Herat
What William Shakespeare was to literature, so was Michelangelo to
art. The greatest of all artists the world ever knew, he saw the light
of day on 6 March, 1475 and was truly blessed to have lived for almost a
century given to good health and when he died on 18 February, 1564, he
was still working six days prior to his death.
The Hand of God extended to Adam is the most enduring of
Michelangelo’s paintings. |
He was born in Tuscany at Caprese as the second of five sons born to
Ludovico-di-Leonardo and Francess Buonarroti. This well-to-do family had
two homes; one in Tuscany countryside and the other in the city of
Florence. Michelangelo was only six when his mother died, it coincide
with the time that he had his first drawing lesson from local artist,
Francisco Granacci.
When Michelangelo was 13 he moved over to France and worked as an
assistant to architect Dominico Ghirlandai who had recently started work
on Santa Maria Novella Church in Florence and young Michelangelo got the
first break on his way to the top. He was offered the chance to study
sculpture in the classical statuary owned by Lorenzo de Medici. He was
helped by the elderly curator of the gardens, Bertolodo de Giovanni who
had formerly studied under Master sculptor, Donatell.
Michelangelo was very fortunate that through the Court of Lorenzo
that he came into contact with brilliant sculptors, artists and writers.
This enriched the young mind towards great goals.
Thus, he became not only an artist, a sculptor but also a
professional writer, poet and an author of many literary letters. He
also came under the influence of two other members of the church. One
was a priest to whom Michelangelo had gifted a crucifix and in return
the priest gave the young artist access to the bodies kept in the
church. This enabled Michelangelo to study anatomy.
The other person was an articulate monk called Fr. Girolamo
Savonarola. He was a zealous reformer who rose to great heights
foretelling the nation that a great disaster would befall them if they
offended God. So passionate was he, that the church excommunicated and
hanged him at stake in the Piazaa Della Signoria where Michelangelo's
world renowned sculpture of 'David' stands.
This was his tribute to Savonarola whom he had heard preaching in
1492 the year his patron, Lorenzo died. The artist was heart-broken at
the monk's death which was brought about by burning him at a stake. This
had an everlasting, shattering effect on Michelangelo. Along with the
loss of Lorenzo, it deeply affected the artist's career. However, with
vigour and new-found courage, he settled down to paint seriously. By the
time he turned 16, he had painted Madonna of the Steps (1491-2) which
was going to be one of his prize portraits of Madonna.
Florence which had been a separate city until 1494 suffered a severe
political setback led by the powerful Medici clan but it was invaded by
King Charles Vill. With the French invasion, many prominent Florentines
fled the city and Michelangelo was one of them. He travelled to Venice
and then to Bologna but by 1495 he found it safe to return home. While
at Bologna he was commissioned to complete a sculpture that was left
incomplete for over 200 years. This was the tomb of St. Dominic,
Bologna's patron Saint. It was left in that State by Nicola Pisano
(1284-1314). He made his first trip to Rome when he turned 21.
This was the city of his dreams and a turning point in his career,
triumphant as well as frustrating. He created his best masterpieces in
the next five years. The all-important 'Baccus' sculptured as the God of
Wine had never been seen with such spectacular image.
This stupefied the world of sculpture and especially in Rome where
high standards were maintained by their own Masters. Baccus's physique
was marvellously executed with the fluidity of the distribution of
muscles (now he knew what anatomy was). An attractive youthful Baccus
was created 15 years later by Jacob Sansovino and reverted to the
traditional classical method. Michelangelo declared it as outdated.
Still later he created 'Pieta' that could never have been improved
any further by any other sculptor even centuries later. Pieta is still
considered his greatest achievement but there were more for Michelangelo
to create and stun the world.
The City of Florence was declared a Republic after many years of
turbulence on 4 August, 1501 and 12 days later, Michelangelo was
commissioned to create the statue of 'David' and this had to be carved
from a single slab of white marble. The slab had been worked on for 40
years and left undone. It was a challenge for Michelangelo. With much
passion and fire, he worked on it which was to become the world's most
famous statue from the 16th century.
'David' was a miracle in the deft hands of Michelangelo who saw to
every minute detail from a perfect anatomy to strong muscles that
defined each and every mood of this artist.
Traditionally, David was an insignificant character standing beside
Goliath. Michelangelo wiped away the myth when his David took on the
strong but pensive character that we see today, all naked but beautiful
enough to gaze upon. This was Michelangelo at his best, the artist who
loved doing the male nudes. (David was given a bath lately after
centuries of collecting dust).
When Michelangelo completed 'David' (1501-04) he became the greatest
living sculptor of his time. This was commissioned by the First
Chancellor, Piero Soderini of the Florentine Republic. Several others
wanted the commission but it was only Michelangelo who had the capacity
to come up with such magnitude in enormous dimensions and confining to
one flat slab of marble abandoned 40 years ago by Renaissance sculptor,
Augustine de Cuccio.
Because of the partially damaged marble slab, Michelangelo had to
sculpt David to be viewed from front and rear rather than from the
sides. For the people of Florence, the devout Catholics, David was a
symbol of strength, courage and trust in God. It became the civic pride
and centrepiece in the city and its sculptor, a national figure.
Michelangelo gave a different perspective to David in character by
creating a powerful physical presence as the giant-slayer of Goliath. He
bears the appearance of a Greece God, to me.
Michelangelo still remains the most inspirational and talented artist
and the hope for every budding artist around the world. As a leading
light of the Renaissance, he emerged as the extraordinary artist from
his early works like the Pieta in the Vatican. With prodigious talents,
he was a magnificent all-rounder with technical competence and a rich
abundance of artistic imagination. He was the producer of the high
Italian Renaissance blend of aesthetic accuracy in his work.
An evening of vocal and organ music
Music lovers in Colombo are in for a treat on Saturday September 10
at 7.30 p.m. when four talented vocalists and the accomplished organist
David Ratnanayagam will present an evening of solo and ensemble work at
St. Andrew's Scots Kirk, Galle Face.
The programme for the evening includes well-known works both
spiritual and secular, carefully chosen to ensure the appreciation both
of those well versed in vocal music, and of members of the audience
whose interest may be less tutored.
Active musicians and avid listeners alike will find cause for
appreciation and indeed celebration, in the pieces these talented young
performers have elected to present.
It is worthy of emphasis that each of the musicians who will perform
on Saturday may be classed as an amateur, in the sense that none has
chosen to pursue music as a profession. How very often is this important
distinction misunderstood, for we may mistakenly assume that those who
have chosen to earn their living by other means are less serious and
even less accomplished, than their counterparts in the world of
professional performance. Here is a group who believes this myth.
Kumudini David is a Project Officer for the Ministry of Education's
Distance Education Partnership Programme, while Piyumika Wimalasuriya is
employed at HSBC's Global Data Processing Centre.
A student at the American National College, Dinali Wijesinghe is
pursuing a degree in Business Studies, and looks forward to a career
managing a School of Speech and Drama, while Niranjali Amarasinghe is
reading Law at Bristol University in the UK.
David Ratnanayagam, on whose initiative the evening has been
prepared, is Head of the Department of Music and a Teacher of English at
The British School in Colombo.
What unites each of these multifaceted individuals is their
transparent pursuit of excellence in performance for, as the term
"amateur" so clearly suggests, the love of it.
The amateur, not inhibited or constrained by the compromises so often
demanded in professional life, pursues his or her passion with the
devotion we reserve for what we love.
And indeed both a love of music and a corresponding humility before
it, characterises each of these performers. Trained and inspired from an
early age by Mary Anne David, each of the evening's vocalists exudes her
commitment to excellence.
It is a commitment shared in equal measure by the organist, who will
be both accompanist and solo performer on this occasion.
And, in the spirit of giving which these musicians' approach to
performance implies, all proceeds of the Concert will be donated to the
National Council for Child and Youth Welfare, an approved charity
established over 50 years ago, which runs and manages seven homes for
destitute and orphaned girls and mentally impaired girls and boys.
Tickets will be made available both at the Council before the 10th,
and at the Church Door on the evening of the performance.
Those who wish to make a further contribution to the work of this
worthy organisation may do so by additionally purchasing a programme.
Alternatively, donations may be made both at St Andrew's on the
evening of the performance, or at the Council's headquarters at 385/5
Kotte Road, Rajagiriya.
- Jill Macdonald
Piano recital review : Eshantha's enchanting evening of Brahms
The Lionel Wendt witnessed a magical piano performance recently of a
well chosen program of Johannes Brahms by the young virtuoso Eshantha
Peiris.
The Chorale Prelude No. 4 was given a very majestic interpretation
and was followed by the No. 10 played with a soulful and religious
solemnity. It is a pity the audience misunderstood his direction - "not
to applaud within a section", and did not applaud after the splendid No.
10.
Eshantha skilfully brought out the contrasting features of the famous
Paganini theme in Book 1 of the variations. In Book 2, he showed a
remarkable accuracy in the octave work and ecstatic repeats of the
famous Theme.
One irritating mobile phone had to screech out its hackneyed theme,
in spite of the owner being asked to switch off at the commencement of
the programme. A further spoiler were the squeals of two Wendt rats in
the ceiling - Wendt authorities please call in the terminators.
Eshantha's interaction with his audience is induced solely in his
music. Even though he has a striking personality, his deportment on
visual contact at entry and departure is often rather stern. However,
his penetrating stare at a noisy post intermission audience, just prior
to his amazing interpretation of the Brahms Sonata, was perfectly
justifiable.
The post intermission session was a magical experience of listening
to the unusual five movement Sonata No. 3 in F Minor of Brahms.
Eshantha's was a very mature interpretation of the romantic Allegro -
Maestoso. There were such soulful Rubatos in the Andante that Brahms
would certainly be proud of; this passionate rendition was repeated with
precision in the sombre Intermezzo.
The difficult Scherzo was played with perfect flexibility and ease
which made it look so simple to perform. The supremely virtuoso Finale
was brilliantly played with such confidence that Eshantha is fast
approaching the status of a celebrated Concert Pianist.
His 'encore' of the Paganini theme in a perfect Jazz interpretation
was refreshing and cheerful. Without sounding condescending to the
younger generation, I must confess that Eshantha, for his youthful 19
years, displayed an unusual maturity in interpretation throughout his
performance. His supreme accuracy even through the most intricate
passages is a direct result of a strict discipline and displays a
striving for perfection.
All lovers of music wish him every success in his future endeavours.
- Mano Chanmugam |