谁可以用英文写一篇米开朗基罗的文章?

急求米开朗基罗的英文简介~

米开朗琪罗
（Michelangelo Buonarroti, 1475-1564）

意大利文艺复兴盛期的雕塑家、画家、建筑师和诗人。生于佛罗伦萨。十三岁从基兰达约（Ghirlandaio）学画一年，后从多那太罗的学生贝托多（Bertoldo）学习雕塑一年，主要靠自学。他的艺术创作在人文主义思想支配下，并受到萨伏那罗拉（Savonorola）宗教改革运动的影响，以现实主义方法和浪漫主义的幻想，表现当时市民阶层的爱国主义和国自己而斗争的精神面貌。在艺术上具有坚强的毅力和雄伟的气魄。中年的作《大卫》雕像，被认为是象征着为正义事业而奋斗的力量。又在西斯廷教堂八百玉方米的天花板上，连续工作四年，独立完成了《创世纪》的巨型天顶画。晚年所作美第奇陵墓雕像《晨》、《幕》、《昼》、《夜》，具有冷静而沉郁的悲剧性质，显示出人物心情的激动与意志的矛盾，反映了当时意大利人民失去自由和独立的精神状态。重要作品尚有壁画《最后的审判》、雕塑《摩西》及《奴隶》等。建筑设计有罗马圣彼得大教堂的圆柄和加必多利广场行政建筑群等。并有辑本诗集传世。

Italian sculptor Michelangelo in Florence, carved a statue, because that statue in size, in turn placed in a prominent position in the city, Michelangelo from the idea of means to make every effort. After nearly two years of creation, Michelangelo finally completed the work. When he saw the statue embodies all the skill of his work, he himself was proud of himself. Preview works when, Florence turned out, on his amazing creations. Eventually, even the mayor to visit Florence, and many powerful whispers around the statue, waiting for the mayor to express their views. Mayor looked arrogant glances towards the statue, and asked: "On coming?" Michelangelo was invited before the mayor. Mayor said: "The carving stonemason, I think this statue's nose points lower, affecting the atmosphere of the whole art of sculpture." Listening Michelangelo said: "Dear Mayor, I will add your request in accordance with high statue's nose. "finish, then assistant to remove the tools of Michelangelo, carrying powder on the statue's nose for processing. Michelangelo statue on the nose wiping powder. Wiping for a moment, before he came to the mayor, said: "Dear Mayor, I have been in accordance with the requirements of increasing the height of the statue of your nose, you see now?" After Mayor read nodded and said: "carving mason, much better now, this is the perfect art. "

Mayor left, Michelangelo's assistant puzzled, asked: "You're just a stone's nose rubbed three stone dust, stone heightening ah no nose?" Michelangelo said: " However, the mayor of that high. "

It is said that statue still stands in the streets of Florence, know that statue history knows that this saying: "the vanity of power and privilege is three stone powder on the nose."

Italian sculptor, painter, architect and poet. He was one of the founders of the High Renaissance and, in his later years, one of the principal exponents of Mannerism. Born at Caprese, the son of the local magistrate, his family returned to Florence soon after his birth. Michelangelo's desire to become an artist was initially opposed by his father, as to be a practising artist was then considered beneath the station of a member of the gentry. He was, however, eventually apprenticed in 1488 for a three-year term to Domenico Ghirlandaio. Later in life Michelangelo tried to suppress this apprenticeship, implying that he was largely self-taught, undoubtedly because he did not want to present himself as a product of the workshop system which carried with it the stigma of painting and sculpture being taught as crafts rather than Liberal Arts. Nevertheless, it was in Ghirlandaio's workshop that Michelangelo would have learnt the rudiments of the technique of fresco painting. Before the end of his apprenticeship, however, he transferred to the school set up by Lorenzo the Magnificent in the gardens of the Palazzo Medici. Here he would have had access to the Medici collection of antiques, as well as a certain amount of tuition from the resident master, Bertoldo di Giovanni. His work here included two marble reliefs, a Madonna of the Steps (Casa Buonarroti, Florence), carved in rilievo schiacciato and showing the influence of Donatello (Bertoldo's master) and a Battle of the Centaurs (Casa Buonarroti, Florence), based on Bertoldo's bronze Battle of the Horsemen, which itself appears to be based on an antique prototype. Either at this time, or when he was in the Ghirlandaio workshop, Michelangelo also studied from and drew copies of the frescos of Giotto and Masaccio.
"With the death of Lorenzo in 1492, the school broke up and Michelangelo was given permission to study anatomy at the hospital attached to Sto Spirito. In gratitude to the prior for allowing him this privilege he carved a wooden Crucifix (the one now in the Casa Buonarroti is considered by some scholars to be the work in question). In October 1494, Michelangelo transferred to Bologna and was awarded the cornmission for three marble figures to complete the tomb of St. Dominic in S. Domenico Maggiore, begun by the recently deceased Niccoló dell' Arca. By June 1496 he was in Rome and here established his reputation with two marble statues, the drunken Bacchus (c 1496-7; Florence, Bargello) for a private patron and the Pietá for St. Peter's (1498-9). The latter is generally considered to be the masterpiece of his early years, deeply poignant, exquisitely beautiful and more highly finished than his later works were to be. In creating a harmonious pyramidal group from the problematic combination of the figure of a full-grown man lying dead across the lap of his mother, Michelangelo solved a formal problem that had hitherto baffled artists. He returned to Florence a famous sculptor and was awarded the commission for the colossal figure of David to stand in the Piazza della Signoria, flanking the entrance to the Palazzo Vecchio (1501-4, original now in the Accademia). Soon after this he was cornmissioned to paint a battle scene for the new Council Chamber of the Palazzo. On one wall he commenced the painting of the Battle of Cascina, while on the opposite wall his principal rival, Leonardo, was commissioned to paint the Battle of Anghiari. Although neither painting was ever finished, copies of a fragment of Michelangelo's full-size cartoon, showing a group of nude soldiers reacting variously to the battle alarm that has interrupted their bathing, soon began to circulate (e.g. Earl of Leicester Collection, Holkharn Hall, Norfolk). These nudes, posed in a variety of turning and animated poses, established the Mannerist conception of the male nude as the principal vehicle for the expression of human emotions.

"Michelangelo abandoned this Florentine commission when Pope Julius II summoned him to Rome to design his tomb. What should have been the most prestigious commission of his career, a free-standing tomb with some 40 figures, to be located in St. Peter's, became, in Michelangelo's own words, the 'tragedy of the tomb'. Julius died in 1513, the contract was redrawn several times over the following years with ever-diminishing funding, other demands were made on Michelangelo by successive popes, and the project was finally cobbled together in 1545, a shadow of its original conception, with much help from assistants, in S. Pietro in Vincoli Julius' titular church). The tomb is now principally famous for the colossal figure of Moses (c 1515), one of Michelangelo's greatest sculptures. Two slave figures, The Dying Slave and the Rebellious Slave (c1513), intended for the largest of the schemes for the tomb, are now in the Louvre in Paris, and four unfinished slaves, from an intermediate stage when the tomb had been only slightly reduced, are now in the Accademia in Florence. The four unfinished slaves reveal eloquently Michelangelo's sculptural process: the figure would be outlined on the front of the marble block and then Michelangelo would work steadily inwards from this one side, in his own words 'liberating the figure imprisoned in the marble'. As the more projecting parts were reached so they were brought to a fairly finished state with those parts further back still only rough-hewn: thus the figures of these slaves literally appear to be struggling to be free. The (unintentional) pathos specifically evoked by the unfinished state of figures such as these and the St. Matthew (Accademia, Florence) exerted a tremendous impact on Rodin who recognized in them expressive possibilities that would be lost in a 'finished' piece.

"While in the early stages of work on the Tomb, Julius also commissioned Michelangelo to paint the ceiling of the Sistine Chapel. Michelangelo was evidently reluctant to abandon his sculptural project for one of painting (always much less satisfying to him), but he nonetheless began work in 1508, completed the first half by 1510 and the whole ceiling by 1512. Dissatisfied with traditional methods of fresco painting and mistrustful of assistants who could not meet his evolving demands, he dismissed his workshop at an early stage and completed the monumental task almost single-handedly. The main scenes - the histories - in the centre of the shallow barrel vault, alternate larger and smaller panels and represent the opening passages of the Bible, from the Creation to the Drunkenness of Noah with, at each of the corners of the smaller panels, idealized nude youths, variously interpreted as angels or Neoplatonic perfections of human beauty. The histories are treated like quadri riportati with a horizon parallel to the picture plain. The ignudi, however, inhabit a different reality - one created by the fictive architecture which also forms the shallow space occupied by the enthroned prophets and sibyls (those who foretold Christ's coming) located towards the sides of the vault. Lower down still, in the Nunettes above the windows, are the ancestors of Christ and, at the four corners of the ceiling, Old Testament scenes that prefigure Christ's Crucifixion and thus humanity's salvation. The programme of the ceiling, life before the establishment of the Mosaic Law, relates it to the frescos of the lives of Moses and Christ by Perugino and other artists on the walls below. Michelangelo gives a poignant account of his gruelling task, painting bent over backwards, his neck permanently arched to look up, his arm stretching upwards to wield his brush, in one of his sonnets. The break in work in 1510 allowed him to see the effect of the fresco from the ground (hitherto hidden by scaffolding) and in the second half (that closest to the altar wall) there is a perceptible simplification of detail and a corresponding monumentalization of figure style. Always heralded as the supreme example of Florentine disegno, the recent restoration has also revealed Michelangelo to have been a brilliant colourist.

"In 1516, the new pope, Leo X (Giovanni de'Medici) commissioned Michelangelo to design a facade for San Lorenzo, the Medici parish church in Florence. The commission came to nothing (the facade is unfinished to this day), but this unfulfilled scheme led to his two earliest architectural masterpieces, the Medici Chapel (or New Sacristy) attached to San Lorenzo and the Laurentian Library. Again neither was to be finished. Nevertheless, the 'molten' stairway and the architectural elements of the entrance hall to the library, whose positioning deliberately contradicts the structural function of their prototypes, are seminal in the foundation of architectural Mannerism. The Medici funerary chapel (planned from 1520, abandoned when the Medici were temporarily expelled from Florence in 1527, recommenced in 1530 and left incomplete in 1534) was intended to be a fusion of architecture and sculpture accommodating the tombs of four members of the family. The idea was that looking from the altar, moving past the tombs, one's gaze would be directed by the gaze of the tomb figures who turn towards the far wall and the Madonna holding upon her lap the Christ child, whose sacrifice had made possible the Resurrection of the soul of the faithful to everlasting life - the climax to the iconographical programme of the mausoleum. Only two tombs were completed and the Madonna and Child was half completed. Beneath the seated figure of Giuliano ('vita activa') are reclining figures of Day and Night and beneath that of Lorenzo ('vita contemplativa'), Dawn and Evening. These reclining figures symbolize mortality through the passage of time.

"In 1534 Michelangelo departed for Rome, never to return to Florence. From now on he worked mainly for the papacy. Soon after his arrival Pope Clement VIII commissioned him to paint the fresco of the Last judgement for the Sistine Chapel (work commenced under Pope Paul III in 1536, completed in 1541). The spirit of the work is totally different from that of the ceiling unveiled 29 years earlier. In the interim, the Church had been torn apart by the Reformation, Rome had been sacked (1527), and Michelangelo's fresco breathes the new militancy of the Catholic Counter-Reformation. The optimism and confidence of the ceiling is replaced by the pessimism and emotional turmoil of the altar wall: saints swarm around the Apollo-like figure of Christ, wielding their instruments of martyrdom, seemingly demanding righteous judgement on the sinners stirring to life from the bare earth at the bottom of the picture. The Last judgement was intended as the climax of the chapel's account, represented in coherent stages, on the ceiling and walls, of the Christian history of the world. This was Michelangelo's most controversial work to date and was as much condemned (for its nudity) as it was praised (for its artistry). After the death of Michelangelo, the fresco was nearly destroyed, but the Church authorities settled for Daniele da Volterra painting draperies over the offending nudity.

"Following the Last Judgement Paul III commissioned from Michelangelo his two last major frescos for the Capella Paolina, the Conversion of St. Paul and the Martyrdom of St. Peter (1542-50). The same troubled spirit imbues Michelangelo's sculpture from this time, the Pietá (now Florence, Cathedral Museum), intended for his own tomb shows himself as Nicodemus - again, a comparison with the St. Peter's Pietá is eloquent testimony to the spiritual uncertainty of these later years. In the year of his death, his 89th year, he was working on yet another pietá, the Rondanini Pietá. In 1546 Michelangelo was appointed Chief Architect to St. Peter's and charged with the completion of the new church, the most prestigious architectural commission in Christendom. Rebuilding had almost ceased with the death of Bramante in 1514, but Michelangelo, as reluctant to engage in architectural commissions as he had been with painting, had brought the work almost to completion (as high as the drum of the dome) by the time of his death. The dome was erected after his death, to his designs but with some modifications (e.g. Michelangelo's hemispherical profile was made much steeper). Also the nave was lengthened in the 17th century changing Michelangelo's Greek cross plan to a Latin cross plan, and consequently the majesty of the dome is much obscured by the balustrade of the Baroque facade.

"Whether in painting, sculpture or architecture, Michelangelo's influence has been immense. Although he restricted himself to the nude in painting, his expressive use of the idealized human form had a tremendous impact on contemporaries and future generations - even Raphael was not above directly referring to the Sistine Chapel sibyls, with his fresco of Isaiah in Sant' Agostino. Furthermore, there was not a major Italian sculptor of the 16th century whose style was not formed under the influence of Michelangelo, or in direct reaction against him (e.g. Bandinelli). He was the first artist to be the subject of two biographies in his lifetime - those of Condivi and Vasari - with the latter doing much to promote the view of Michelangelo as the consummation of a progression towards artistic perfection that had begun with Giotto."

After a seven-year relationship with a refinery mechanic named Aldo (Steve Cochran), Irma (Alida Valli) learns that her husband died in Australia. The news may sound tragic, but Aldo thinks that this may be a chance for them to "legitimize" their affair. Contrary to what he expects, Irma announces Aldo her love for another man. He tries hard to make Irma stay with him, but all his efforts find an uncompromising Irma. He even uses violence, thus ruining any chances of reunion. Aldo decides to leave his town, taking their daughter with him. He wanders endlessly visiting other towns around Po valley, emotionally and socially empty. During his journey he meets some women, who offer him home and love on occasions, but nothing can keep him steady, as the past and his love for Irma shall haunt him forever.
我写的是简单的，用不用是你的事

文艺复兴时期伟大的艺术家米开朗基罗·布欧纳罗蒂是直观艺术史上的杰出人物。米开朗基罗是一位才华横溢的画家、雕刻家和建筑师，给人类留下了风格各异的传世之作，四个多世纪来给观赏者留下了不可磨灭的印象。他的作品对欧洲绘画和雕塑艺术随后的发展有着深刻的影响。

米开朗基罗于1475年生于意大利卡普里斯镇，离佛罗伦萨大约四十英里。他早年就显露出天赋，13岁时在佛罗伦萨师从著名画家基兰达约。米开朗基罗15岁被带到麦第奇宫殿中生活，几乎是被佛罗伦萨君主伟大的罗廉佐看成为麦第奇家族的成员，罗廉佐成了他的保护人。米开朗基罗在整个生活期间都显露出了卓越的才华，常受教皇和非宗教君主委托设计制作艺术作品。他虽然在许多地方生活过，但是他一生的大部时光是在罗马和佛罗伦萨度过的。1564年他在临近89岁寿辰之际去世。他从未结婚。

虽然米开朗基罗并不象他的同时代的老前辈列奥纳多·达·芬奇那样是一个全面的天才，但是他的多才多艺，也给人们留下了其极深刻的印象。实际上他是在人类奋斗的两个独立领域里的成就都曾达到顶峰的唯一的一位艺术家，也许是唯一的人物。作为一位画家，米开朗基罗无论从他传世作品的质量，还是对历代画家的影响来看，都是无与伦比的。他为装饰罗马西斯廷教堂天花板那套巨型壁画被真正地誉为是历代最伟大的艺术成就之一。但是米开朗基罗认为他自己主要是位雕刻家，许多评论家都认为他是曾出现过的最伟大的雕刻家。例如他创作的大卫雕像、摩西雕像和著名的圣母抱基督尸体哀戚之雕像皆堪称为登峰造极的艺术品。

米开朗基罗也是一位独具匠心的建筑师。他在这方面取得的辉煌成就之一就是设计了佛罗伦萨麦第奇教堂。他还为罗马的圣·彼得担任多年的总工程师。

米开朗基罗在一生中创作了许多首诗歌，至今尚存下来的大约有300首。他的众多首十四行诗和其他韵体诗直到他去世后很久才发表。这些诗可以使我们深刻地了解他的个性，也清楚地表明了他是一个天才的诗人。

在莎士比亚一章中已经说明，我确信文学艺术和文学艺术家对人类历史和日常生活相对来说并没有什么影响。就是由于这个原因，我才把米开朗基罗在本册中的名次排在许多科学家和发明家之后，尽管他是一位杰出的艺术天才并且远比他们中的许多人有名气。

摘自：湖北教育出版社《历史上最有影响的100人》

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