Michelangelo (notice n° 33493)

détails MARC
000 -LEADER
fixed length control field 02916cam a2200277zu 4500
003 - CONTROL NUMBER IDENTIFIER
control field FRCYB88835734
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250107142001.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250107s2006 fr | o|||||0|0|||eng d
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781844848393
035 ## - SYSTEM CONTROL NUMBER
System control number FRCYB88835734
040 ## - CATALOGING SOURCE
Original cataloging agency FR-PaCSA
Language of cataloging en
Transcribing agency
Description conventions rda
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Müntz, Eugène
245 01 - TITLE STATEMENT
Title Michelangelo
Statement of responsibility, etc. ['Müntz, Eugène']
264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE
Name of producer, publisher, distributor, manufacturer Parkstone International
Date of production, publication, distribution, manufacture, or copyright notice 2006
300 ## - PHYSICAL DESCRIPTION
Extent p.
336 ## - CONTENT TYPE
Content type code txt
Source rdacontent
337 ## - MEDIA TYPE
Media type code c
Source rdamdedia
338 ## - CARRIER TYPE
Carrier type code c
Source rdacarrier
520 ## - SUMMARY, ETC.
Summary, etc. Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element
700 0# - ADDED ENTRY--PERSONAL NAME
Personal name Müntz, Eugène
856 40 - ELECTRONIC LOCATION AND ACCESS
Access method Cyberlibris
Uniform Resource Identifier <a href="https://international.scholarvox.com/netsen/book/88835734">https://international.scholarvox.com/netsen/book/88835734</a>
Electronic format type text/html
Host name

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