截图
简介
这是一个关于米开朗琪罗作品大卫PPT，主要介绍了诗人追求美，试图在美的世界中实现自己的理想，然而美却像一个“石头的梦”，冰冷、奇幻、神秘、不哭、不笑、不动如一尊古代的雕像，多少诗人丧生在她的胸脯上，耗尽毕生的精力而终不得接近等内容。米开朗基罗·博那罗蒂（外文名：Michelangelo di Lodovico Buonarroti Simoni），1475年3月6日出生于意大利佛罗伦斯柏里斯镇，是意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表。他一生追求艺术的完美，
米开朗琪罗作品大卫PPT是由红软PPT免费下载网推荐的一款人物PPT类型的PowerPoint.
Michelangelo
strength ，beauty and sorrow
Throughout the Middle Ages， painters were considered skilled crafts workers on a level with goldsmiths， carpenters， and other tradespeople. By the mid–16th century， in contrast， Michelangelo could claim that “in Italy great princes as such are not held in honor or renown; it is a painter that they call divine.”
From anonymous crafts workers to divinely talented individuals more honored and renowned than princes—what had happened?
Renaissance humanists held that humankind was not worthless in the eyes of God， as the Church had taught during the Middle Ages.
Rather， humankind was God’s finest and most perfect creation. Reason and creativity were God’s gifts， proof of humankind’s inherent(与生俱来的) dignity.
People’s obligation(义务) to God was not to tremble and submit but， rather， to soar， striving to realize their full intellectual and creative potential.（奋发向上，努力实现自己全部的智力和创造潜能）
First， Italy had been among the first areas to recover economically from the chaos of the early Middle Ages.
The city-states was wealthy， independent， and fiercely competitive，they would vie with one another to engage the finest artists.
The Church， also an important patron of the arts， was centered in Italy as well. Humanism arose first in Italy， and it was in Italy that the first university position in Greek studies was established.
Finally， Italians had long lived amid the ruins of ancient Rome， and they viewed themselves as the direct descendants of the earlier civilization.
The pursuit of beauty made painting，sculpture， and architecture as intellectual activities allied with mathematics，science， and poetry. Artists were no longer crafts workers， but learned persons whose creative powers were viewed as almost miraculous(不可思议的).
The greatest artists were considered a breed apart(与众不同的人)， forming a class of people respected not because of who they were but because of what they could do.
The term “Renaissance man” is applied to someone who is very well informed about， or very good at doing， many different， often quite unrelated things.
Several of the leading figures of the Renaissance were artistic jacks-of-all-trades(通才). Michelangelo was a painter，sculptor， poet， architect. Leonardo was a painter，inventor， sculptor， architect， engineer， scientist， musician， and all-round intellectual.
In our age， those accomplishments seem impossible，but during the heady years of the Renaissance nothing was impossible.
Michelangelo had established his reputation as a sculptor by the age of 23
酒神巴库斯 Bacchus (1496–1497)
Giorgio Vasari： “both the slenderness of a young man and the fleshiness and roundness of a woman”， and its androgynous(雌雄同体) quality has often been noted.
“…has an expression of the most revolting dissoluteness.”(最令人作呕的放荡)
“in brief... it is not the image of a god”.
哀悼基督 The Pietà(1498–1499)
The theme is of Northern origin， popular by that time in France but not yet in Italy. Michelangelo‘s interpretation of the Pietà is unprecedented in Italian sculpture. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.(古典美与自然主义的调和)
作者突破了以往苍白衰老的模式，圣母被刻画成为一个容貌端庄美丽的少女，却没有影响到表现她对基督之死的悲痛，她的美是直观的，但她的悲哀却是深沉的。她所体现出的青春、永恒和不朽的美，正是人类对美追求的最高理想。
大卫 David(1501-1504)
Though Leonardo Da Vinci and others were consulted， it was Michelangelo， only 26 years old， who proved he deserved the commission.
Because of the nature of the hero it represented， the statue soon came to symbolize the defense of civil liberties embodied in the Republic of Florence. The eyes of David， with a warning glare， were turned towards Rome.
米开朗基罗生活在意大利社会动荡的年代，颠沛流离的生活使他对所生活的时代产生了怀疑。痛苦失望之余，他在艺术创作中倾注着自己的思想，同时也在寻找着自己的理想，并创造了一系列如巨人般体格雄伟、坚强勇猛的英雄形象。《大卫》就是这种思想最杰出的代表。
创世纪（西斯廷礼拜堂天顶画）
The Sistine Chapel ceiling(1508-1512)
Central to the ceiling decoration are nine scenes from the Book of Genesis of which The Creation of Adam is the best known， having an iconic standing equalled only by Leonardo da Vinci's Mona Lisa
The hands of God and Adam being reproduced in countless imitations. The complex design includes several sets of individual figures， both clothed and nude， which allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure， and have provided an enormously influential pattern book of models for other artists ever since.
The Creation of Adam is the most familiar of the ceiling images.
The first man Adam，reclining on a rock.He is well-formed but listless(无精打采)，the spirit of life—the soul—has not yet been breathed into him.
At right， God sweeps toward Adam.God’s left arm embraces a woman thought to represent Eve， the first woman， who at this point in the story is still an idea in God’s mind.
His left forefinger points to a child， probably meant to be the Christ child， who will come much later to redeem(救赎) the world.
The focal point of thi simage is the two hands， stretching toward each other. In a split second they will meet， and the long history of humankind will begin.
Michelangelo’s genius is nowhere clearer. He does not show us the ending. He shows us， rather， the thrilling potential.(扣人心弦的潜在性)
我的胡子向着天，
我的头颅弯向着肩，
胸部像头枭。
画笔上滴下的颜色，
在我脸上形成富丽的图案。
腰缩向腹部的位置，
臀部变做秤星，
维持我全身重量的均衡。
我再也看不清楚了，
走路也徒然摸索几步。
我的皮肉，在前身拉长了，
在后背缩短了，
仿佛是一张叙利亚的弓。
被缚的奴隶、垂死的奴隶 Slaves 1513
在中世纪意大利，统治阶级在墓前立奴隶像是象征死者的权威。显然，用奴隶雕像装饰陵墓，是沿用古罗马时代纪念碑装饰的惯例，米开朗基罗在教皇墓前造奴隶雕像，在于通过两尊奴隶雕像，传达被束缚、被奴役的灵魂，希望求得解脱内在精神。
昼、夜、晨、昏
Day/Night/Dawn/Dusk (1519～1534)
乔凡尼斯特罗齐看到这可惊的《夜》时，写了下列一首诗：“夜，为你所看到妩媚地睡着的夜，却是由一个天使在这块岩石中雕成的；她睡着，故她生存着。如你不信，使她醒来罢，她将与你说话。”
米开朗琪罗答道： “睡眠是甜蜜的。成为顽石更是幸福，只要世上还有罪恶与耻辱的时候。不见不闻，无知无觉，于我是最大的欢乐：因此，不要惊醒我，啊！讲得轻些吧！”
屈服的翡冷翠来呼应他的呻吟了：“在你圣洁的思想中不要惶惑。相信把我从你那里剥夺了的人不会长久享受他的罪恶的，因为他中心惴惴，不能无惧。些许的欢乐，对于爱人们是一种丰满的享乐，会把他们的欲念熄灭，不像苦难会因了希望而使欲愿增长。”
在此，我们应得想一想当罗马被掠与翡冷翠陷落时的心灵状态：理智的破产与崩溃。许多人的精神从此便堕入哀苦的深渊中，一蹶不振。
In his poem “L‘Idéal“《理想》 from Les Fleurs du Mal， French Romantic poet Charles Baudelaire references the statue:
Or you， great Night，
daughter of Michelangelo，
Who calmly contort，
reclining in a strange pose
Your charms molded
by the mouths of Titans!
诗人追求美，试图在美的世界中实现自己的理想，然而美却像一个“石头的梦”，冰冷、奇幻、神秘、不哭、不笑、不动如一尊古代的雕像，多少诗人丧生在她的胸脯上，耗尽毕生的精力而终不得接近 。
他却毫无惧色，仍旧锲而不舍，努力在巨大、强劲、极端、奇特的事物中实现那种 “苍白的玫瑰花”满足不了的“红色的理想”
最后的审判 The Last Judgment (1536-1542)
It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The souls of humans rise and descend to their fates， as judged by Christ surrounded by prominent(卓越的) saints
"it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures， exposing themselves so shamefully，" and that it was no work for a chapel but rather "for the public"
It is said that when Cesena complained to the Pope， the pope joked that his jurisdiction(管辖权) did not extend to hell， so the portrait would have to remain.
米开朗基罗独自一人顽强地工作了将近 6 年，在 220 平方米的画面上绘出约四百个人物。在画中央，基督正气凛然，高举右手，即将发出最后的判决。米开朗基罗还把一位教皇画到将被判罪去接受地狱煎熬的一群人中。基督左脚下一个圣徒右手持刀，左手提着一张人皮，而这张人皮的面孔正是画家本人的脸，其表情痛苦、愤怒，表现了米开兰基罗正经历着精神与信仰危机的折磨和对现实社会的不满，并借《末日审判》痛快淋漓地发泄了对人间丑恶的鞭挞。
《末日审判》引起的轰动可想而知。然而，巨作中的裸体人物却引起争议，一些人认为猥亵了神灵。在米开朗基罗去世不久，新教皇庇护四世就下令给所有裸体人物画上遮羞布或衣饰。后来，人们将受命的画家们谑称为“内裤制造商”。
作为诗人的米开朗琪罗
蒙塔莱：米开朗琪罗把无法表达的思想与岩石般粗粝朴实的技巧结合起来，他的诗是那种不需要记忆就能被记住的诗，是米开朗琪罗式的庄严与崇高的最佳典范。
华兹华斯，朗费罗，爱默生，里尔克
托马索·卡瓦利里，维多利亚
心是硫磺
肉是火种
骨头是引火物
这一切之上是灵魂
漫无方向，毫无控制
渴望每一个冲动
每一件美好的事物
那是他的过失
他宣告了：火是我的劫数
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