by Gregg Chadwick
Frequent readers know that I enjoy the wit and erudition of Tyler Green. His Modern Art Notes Podcast is always worth a listen. The latest episode, embedded above, features art historian William E. Wallace and curator Julian Brooks.
Wallace discusses his latest book - “Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece.” Wallace's new book is available on Bookshop.
Tyler writes :"The book offers a rich and lively biographical examination of the last two decades of Michelangelo’s life, a period when he became the architect of St. Peter’s Basilica and other buildings, even as he continued to sculpt and draw."
Michelangelo
The Florentine Pietà
1547-55
Wallace's discussion of Michelangelo's late Pietàs is exceptionally interesting. These are two of my favorite sculptural works by Michelangelo because of their incomplete nature.
Michelangelo
Two Views of the Rondanini Pietà
1564
Castello Sforzesco, Milano
photos by Gregg Chadwick
I have spent hours in the company of Michelangelo's two late pietàs in Florence and Milan.
There is an intently spiritual nature to these sculptures. The marble seems to flicker like candlelight. Form seems to melt with time. My painting La Vita Trasparente (The Transparent Life) was inspired by my visits to the Castello Sforzesco which houses Michelangelo's Rondanini Pietà. Watching a couple stroll through the garden along the castle wall reminded me of the hope that new love brings. Life flickers with light and hope in these moments. Now, as the Covid-19 crisis rages through Northern Italy and the world, I am brought back to the time that I painted La Vita Trasparente. I think of my friends in Milan, Verona, and Trento. Many are health care workers on the front lines of the pandemic. Today, it seems that the curve may be breaking in Italy. I hope this is a positive shift. I send my thoughts to all of you caught up in this struggle. Take care my friends.
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Gregg Chadwick La Vita Trasparente (The Transparent Life) 48"x38" oil on linen 2014 Private Collection, New York |
In the second half of this podcast Tyler Green chats with Julian Brooks who co-curated with Emily J. Peters, the exhibition “Michelangelo: Mind of the Master” at the J. Paul Getty Museum. Brooks explains to us how Michelangelo used his drawings. Brooks discusses Michelangelo's studies for his unfinished and now lost Battle of Cascina, with detail and excitement. I wrote about Michelangelo's drawings after viewing the monumental 2017 exhibition at The Metropolitan Museum of Art. My thoughts then -
Sadly, the Getty is temporarily closed due to the COVID-19 pandemic. It is scheduled to be at the Getty through June 7. The catalog is available on Bookshop.
These drawings are sumptuously beautiful, and set the stage for the rest of Michelangelo's artistic life. Michelangelo's touch is all over these works. The use of chalk in many of the drawings, rather than pen and ink, opens up a sensuous physicality that feels more like flesh than stone.A map of desire seems to be drawn across the back of many of Michelangelo's figures. In the gallery I think of the poetry and art to come - Cavafy, Isherwood, Bachardy, Bacon, and Hockney.
Sadly, the Getty is temporarily closed due to the COVID-19 pandemic. It is scheduled to be at the Getty through June 7. The catalog is available on Bookshop.
