Michelangelo: The Man and the Myth ed. by Pina Ragionieri, Gary M. Radke, Domenic J
Ivana Mladenović
REVIEWS 315 of correct texts. The growing emphasis on orthodoxy is shown in the controversies over Adoptionism, veneration images, and filioque clause. In summary, his reign presented as both dynamic its response to political challenges successful establishing a clear vision Christian unity workable administrative apparatus. McKitterick reader throughout reevaluate what we think know about Charlemagne, by way thorough wide-ranging engagement with sources. For student, she wonderful guide, showing how various sources give different pieces puzzle. She particularly sensitive defining terms that might be unfamiliar general reader, pages 200–202 offer good, short, lesson elements charter. One reservation, however, lack other leading figures, events, or external groups, which may have shaped thinking actions. process achieving consensus not portrayed, this left an impression Charlemagne planned everything except, curiously, wars. states there “little substance any assumption great warrior military leader” (378), describes conquest Lombardy “a coup d’état far more than one aggressive ” (108), Bavaria “entirely family matter” (136), absorbing Saxony continuation policy begun grandfather’s time (103, 136). Her point Carolingian expansion should understood simply aggression; rather, it connected consolidation stability within. addition, focus her study cultural, administrative, religious aspects Charlemagne’s reign. However, importance Frankish life, plunder, image victor seems underplayed. As makes clear, work meant biography introduction events period. Rather, reassessment assumptions become accepted, summary policies promoted during had long-reaching consequences for history Europe. LEANNE GOOD, History, UCLA Michelangelo: Man Myth, ed. Pina Ragionieri, Gary M. Radke, Domenic J. Iacono, trans. Sylvia Dupont (Syracuse: Syracus University Art Galleries 2008) 126 pp., ill. Myth record ambitious unique exhibit produced Syracuse collaboration Casa Buonarroti life creative intensity Renaissance master Michelangelo (1475–1564). scholars introduce “genius” Italian art setting “standard ‘renaissance man’” (11) day. Although artist himself insisted unflattering title “sculptor,” he was undeniably productive inventor, painter, writer, architect, engineer. Biographers like Giorgio Vasari (1511–1574) elevated extraordinary productivity divine origin direction, many authors since found personality disconcerting “full contradictions” (11). An informative biographical overview artist’s artistic production 316 contained subsection catalog entitled “The Life Works Michelangelo.” Here detailed chronology combined expert commentary early apprenticeships, aesthetic agendas, relationships Medici, Michelangelo’s achievements Florence, Bologna, Venice, Rome, Siena. Illustrations analyses include Madonna Stairs (ca. 1491), Bacchus (1497), Vatican Pietà (1499), David (1504), Last Judgment (1534–1541), lesser-known works Risen Christ (1521), Apollo 1530) Bargello Museum unfinished Entombment 1500–1501) National Gallery London. book’s Face Michelangelo” uses numerous images imply must see beyond customary surface famous individual time. But are some interpretive problems . instance, can accept conclusion “fond portraying being portrayed others” (12) when approximately “one hundred sixteenth-century engravings” (37) “four portraits” Giuliano Bugiardini...
Comitatus-a Journal of Medieval and Renaissance Studies