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Would you please delete what you know to be erroneous, rather than simply commenting? Comment as well, by all means!
Re Raphael, the removal was appropriate. On the other hand, the story goes that Bramante let Raphael in to see the unfinished ceiling, looked at the prophets and went back to the prophet he was painting at Sant'Agostino's, scraped it off and started again. He was a great imitator, and never ashamed to copy others. With Michelangelo, there is a much greater gap between what he was doing and what his contemporaries were doing. While Raphael's dependence upon Perugino is very obvious, it is hard to see a connection between Michelangelo and Ghirlandaio, except that, like Ghirlandaio, Michelangelo was obviously very concerned about the chemistry and the technique that he employed in painting his frescoes. One sees in Michelangelo's works nothing of the linear perspective, compositional elements, naturalism, meticulous portraiture, and attention to detail that concerned Michelangelo's principal teacher. By the time he was seventeen, he was heading a very different direction.
Michelangelo created "The Battle of the Centaurs" at an almost impossibly young age and about 8 years before Signorelli commenced work at Orvieto. It is clear that complex figure compositions with naked figures was the direction he was going, and it can't be put down to "shamelessly imitating Signorelli".
Amandajm ( talk) 01:14, 15 December 2013 (UTC)
-- Submixster ( talk) 17:27, 20 December 2013 (UTC)
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Would you please delete what you know to be erroneous, rather than simply commenting? Comment as well, by all means!
Re Raphael, the removal was appropriate. On the other hand, the story goes that Bramante let Raphael in to see the unfinished ceiling, looked at the prophets and went back to the prophet he was painting at Sant'Agostino's, scraped it off and started again. He was a great imitator, and never ashamed to copy others. With Michelangelo, there is a much greater gap between what he was doing and what his contemporaries were doing. While Raphael's dependence upon Perugino is very obvious, it is hard to see a connection between Michelangelo and Ghirlandaio, except that, like Ghirlandaio, Michelangelo was obviously very concerned about the chemistry and the technique that he employed in painting his frescoes. One sees in Michelangelo's works nothing of the linear perspective, compositional elements, naturalism, meticulous portraiture, and attention to detail that concerned Michelangelo's principal teacher. By the time he was seventeen, he was heading a very different direction.
Michelangelo created "The Battle of the Centaurs" at an almost impossibly young age and about 8 years before Signorelli commenced work at Orvieto. It is clear that complex figure compositions with naked figures was the direction he was going, and it can't be put down to "shamelessly imitating Signorelli".
Amandajm ( talk) 01:14, 15 December 2013 (UTC)
-- Submixster ( talk) 17:27, 20 December 2013 (UTC)