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Essay / Research Paper Abstract
This is a 3 page paper that provides an overview of Michelangelo's "Florence Pieta". A psychoanalytical interpretation of the statue's destruction is given. Bibliography lists 1 source.
Page Count:
3 pages (~225 words per page)
File: KW60_KFart001.doc
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Unformatted sample text from the term paper:
as "the Deposition", and the unfinished Rondanini Pieta, upon which the artist was still working just eight days prior to his death. Of these sculptures, perhaps the most fascinating is
the centerpiece of the trilogy, the Florence Pieta which was famously destroyed by the artist himself after eight years of diligent work. It is known today only through careful reconstruction
by Tiberio Calcagni, another Florentine sculptor. Fascinating in its own right as a work of aesthetic beauty, the creation and subsequent destruction of the Florence Pieta also reveals intriguing insights
into the life and psychology of one of historys greatest artists. This paragraph helps the student provide a description of the sculpted work, fulfilling the first step in the
critical process. The Florence Pieta was carved roughly around 1550, and unlike the other two Pieta by Michelangelo, it features four figures rather than just Christ and the Virgin Mary.
The four figures in question are Christ himself, who appears dead in the sculpture, the Virgin Mary, Mary Magdalene, and a hooded figure who is identified as either Nicodemus or
Joseph of Arimathea. One of the most striking aspects of the sculpture is that, like the final Rondanini Pieta, the Florence Pieta is unfinished by the artist; Christs left leg
was sculpted by entirely different artists and painstakingly grafted onto the original in order to provide a sense of completion. The figures are arranged in a roughly triangular composition,
with Christ forming the center space. Christs dead body is the most prominent aspect of the sculpture, and is supposed by the Virgin Mary on his left, and Mary Magdalene
on his right, who form the base of the triangular composition. Nicodemus looms over the prone figure of Christ and forms the zenith of the triangular composition, his face obscured
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