SAT写作经典例子之米开朗琪罗.

2017-08-05 作者： 40阅读

　　下面为大家整理的是一篇SAT写作经典例子，这篇SAT写作例子是关于意大利著名画家和雕塑家米开朗琪罗的。这位伟大的艺术家和达芬奇齐名。我们一起来看看他是如何通过一步一步的努力达到了自己的巅峰的吧。来看看详细内容吧。

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　　Michelangelo (di Lodovico Buonarroti Simoni) 1475 – 1564 (米开朗基罗)

　　Painter, sculptor, architect. Born March 6, 1475 in Caprese, a village where his father was brily serving as a Florentine government agent. The family, of higher rank than most from which artists came in Florence, had been bankers, but Michelangelo&aposs grandfather had failed, and his father, too genteel for trade, lived on the income from his land and a few official appointments. Michelangelo&aposs mother died when he was six.

　　After grammar school, Michelangelo was apprenticed at the age of 13 to Domenico Ghirlandaio, the most fashionable painter in Florence. That this should have happened is surprising, and no satisfactory explanation has been proposed. Michelangelo&aposs implication in his old age that he had to overcome his family&aposs opposition is likely to be mythical in part. In any case, after a year his apprenticeship was broken off, he was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de&apos Medici, dined with the family, and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unprecedented at the time.

　　Michelangelo&aposs earliest sculpture, a stone reli executed when he was about 17, in its composition echoes the Roman sarcophagi of the Medici collection and in its subject, the Battle of the Centaurs, a Latin poem a court poet read to him. Compared to the sarcophagi, Michelangelo&aposs work is remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction.

　　Soon after Lorenzo died in 1492, the Medici fell from power and Michelangelo fled the city. In Bologna in 1494 he obtained a small but distinguished commission to carve the three saints needed to complete the elaborate tomb of St. Dominic in the church of S. Domenico. They too show dense forms, which contrast with the linear forms, either decorative or realistic, then dominant in sculpture, but are congruent with the work of Nicola Pisano, who had begun the tomb about 1265. On returning home Michelangelo found Florence dominated by the famous ascetic monk Savonarola. Michelangelo was in contact with the junior branch of the Medici family, and he carved a Cupid (lost) which he took to Rome to sell, palming it off as an ancient work.

　　In Rome, Michelangelo next executed a Bacchus for the garden of ancient sculpture of a banker. This, Michelangelo&aposs earliest surviving large-scale work, shows the god teetering, either drunk or dancing. It is his only sculpture meant to be viewed from all sides; all the others, generally set in front of walls, possess to some extent the visual character of relis.

　　In 1498, through the same banker, came Michelangelo&aposs first important commission: the Pieta now in St. Peter&aposs. (The term Pieta rers to a type of image in which Mary supports the dead Christ across her knees; Michelangelo&aposs version is today the most famous one.) On his return to Florence in 1501, Michelangelo was recognized as the most talented sculptor of central Italy. But his work was still in the early Renaissance tradition, as is the marble David, commissioned in 1501 for Florence Cathedral but when finished, in 1504, more suitably installed in front of the Palazzo Vecchio. (The original is now in the Accademia; the statue at the original site is a copy.) It shares the clear and strong but bland presence of the Pieta. Bore he finished the David, Michelangelo&aposs style had begun to change, as indicated by his drawing of a very different bronze David (lost) and by other works, particularly the Battle of Cascina. All these works resulted from the city fathers&apos desire to revive monumental public art, characteristic of the period bore the Medici early in the 15th century. The new Council Hall of the Palazzo Vecchio was to have patriotic murals that would also show the special skills of Florence&aposs leading artists: Leonardo da Vinci and Michelangelo.

　　Michelangelo&aposs Battle of Cascina was commissioned in 1504; several sketches and a copy of the cartoon exist. The central scene shows a group of muscular nudes, soldiers climbing from a river where they had been swimming, to answer a military alarm. Inevitably Michelangelo felt the influence of Leonardo and his evocation of continuous flowing motion through living forms. Michelangelo&aposs greatness lay partly in his ability to absorb Leonardo&aposs innovations and yet not reduce the heavy solidity and impressive dignity of his earlier work. This fusion of throbbing life with colossal grandeur hencorth was the special quality of Michelangelo&aposs art.

　　From then on too Michelangelo&aposs work consisted mainly of very large projects that he never finished because of his inability to turn down the vast commissions of his great clients who appealed to his prerence for the grand scale. Of the 12 Apostles he was to execute for Florence Cathedral, he began only the St. Matthew.

　　The project of the Apostles was put aside when Pope Julius II called Michelangelo to Rome in 1505 to design his tomb, which was to include about 40 life-size statues. This project occupied Michelangelo off and on for the next 40 years. Of it he wrote, "I find I have lost all my youth bound to this tomb." In 1506 a dispute over funds for the tomb led Michelangelo, who had spent almost a year at the quarries in Carrara, to flee to Florence. Reconciliation between Julius II and Michelangelo took place in Bologna, which the Pope had just conquered, and Michelangelo modeled a colossal bronze statue of Julius for S. Petronio in Bologna, which he completed in 1508 (destroyed).

　　In 1508 Julius commissioned Michelangelo to decorate the ceiling of the chi Vatican chapel, the Sistine. This work was relatively modest at first, and Michelangelo felt he was being pushed aside by rival claimants on funds. But he soon was able to alter the traditional format of ceiling painting, whereby only single figures could be represented, not scenes calling for dramas in space; his introduction of dramatic scenes was so successful that it set the standard for the future.

　　The elaborate program with hundreds of figures was arranged in an original framing system that was Michelangelo&aposs earliest architectonic design. He approached the ceiling as a surface on which to attach planes built up in various degrees of projection, like a reli sculpture except that its basic units are blocks rather than malleable forms. The many planes and painted architectural framework make the many categories of images so easily readable that the framing system tends to pass unnoticed, but its rich, heavy ornament is typical of the High Renaissance. The chi figural elements of the program are the 12 male and female prophets (the latter known as sibyls) and the nine stories from Genesis. Michelangelo began painting at the end of the story, with the three Noah scenes and the adjacent prophets and sibyls, and in 4 years worked through the three Adam stories to the three Creation stories at the other end of the ceiling.

　　As soon as the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved for it (1513-1514) the Moses (S. Pietro in Vincoli, Rome) and two Slaves (Louvre, Paris), using the same types he employed for the prophets and their attendants painted in the Sistine ceiling. From now on the successive popes determined Michelangelo&aposs activity, as they were all anxious to have work by the recognized greatest maker of monuments for themselves, their families, and the Church.

　　In 1520 Michelangelo was commissioned to execute a tomb chapel for two young Medici dukes. The Medici Chapel (1520-1534), an annex to S. Lorenzo, is the most nearly complete large sculptural project of Michelangelo&aposs career. The two tombs, each with an image of the deceased and two allegorical figures, are placed against elaborately articulated walls; these six statues and a seventh on a third wall, the Madonna, are by Michelangelo&aposs own hand. The two saints flanking the Madonna are by assistants from his clay sketches. Four river gods were planned but not executed.

　　The interior architecture of the Medici Chapel develops the treatment seen in the painted architectural framework of the Sistine ceiling; the walls are treated as reli sculptures, with intersecting moldings and pillars on many planes, giving a loose freedom typical of a non-professional approach to architecture. Whimsical reversals of what is proper—trapezoidal windows and capitals smaller than their columns—introduce what is now called mannerism in architecture.

　　In 1534 Michelangelo lt Florence for the last time, settling in Rome. The next 10 years were mainly given over to painting for Pope Paul III, who is best known for convening the Council of Trent and thus organizing the Catholic Rormation.

　　The first project Michelangelo executed for Paul III is the huge Last Judgment (1536-1541) on the end wall of the Sistine Chapel. His frescoes in the Pauline Chapel in the Vatican (1541-1545) are similar to the Last Judgment, but here he added a remarkable technical novelty by exploring perspective movement and coloristic subtlety as major expressive components. He may have turned to these typically painterly concerns because the Pauline frescoes were the first ones he executed on a normal scale and eye level. Michelangelo devoted himself almost entirely to architecture and poetry after 1545. For Paul III he planned the rebuilding of the Capitol area, the Piazza del Campidoglio, a pioneering scheme of city planning that gave monumental articulation to an area traditionally used for civic ceremonies. Michelangelo&aposs approach to architecture was growing richer and more three-dimensional, as in the Palazzo Farnese, which he completed after the death of Antonio da Sangallo the Younger in 1546.

　　Paul III appointed Michelangelo to take over the direction of the work at St. Peter&aposs after Sangallo died. Here Michelangelo had less respect for his predecessor&aposs plan, returning instead to the concepts that the first architect, Donato Bramante, had proposed in 1506. The enormous church was to be an equal-armed cross in plan, concentrated on a huge central space beneath the dome surrounded by a series of secondary spaces and their containing structures. By the time Michelangelo died, a considerable part of St. Peter&aposs had been built in the form in which we know it, and the drum of the dome was finished up to the springing.

　　Michelangelo&aposs sculpture after 1545 was limited to two Pietas that he executed for himself. The first one (1550-1555, unfinished), which is in the Cathedral of Florence, was meant for his own tomb. This Pieta employs the body type of the Last Judgment in the Christ and its shearing up and down thrusts in the interrelationships of the figures. His late architectural style has a parallel in his last sculpture, the Rondanini Pieta in Milan, which is cut away to an almost abstract set of curves. Michelangelo began this sculpture in 1555, and he was working on it on February 12, 1564. He died six days later in Rome and was buried in Florence.

　　以上就是关于米开朗琪罗的SAT写作经典例子，非常详细，大家可以在备考自己的SAT写作话题的时候，根据实际的话题数量和类型，选择恰当的切入点进行描述，这样就能更好的应对写作方面的要求了。