Think back to a piece of art you created when you were 12 or 13 years old. For many of us, perhaps most of us, the fruits of that stage of adolescence were directionless doodles, chaotic comics, and erratic school projects at best. But most of us didn’t grow up to be Michelangelo. In the late 1480s, when the towering Renaissance artist was still what we would now call a tween, he painted: The sufferings of Saint Anthonya depiction of a titular religious figure being tormented by demons in the desert. Although based on widely known sculptures, they show evidence of rapidly advancing technology, inspiration, and even creativity, especially when placed under an infrared scanner.
For about 5000 years, The sufferings of Saint Anthony It was never thought to have been painted by Michelangelo. As explained in Inspiraggio’s video is just belowWhen the painting was sold at Sotheby’s in 2008, the buyer took it to the Metropolitan Museum of Art for inspection and cleaning.
“Underneath the layers of earth that had accumulated over the centuries, a very particular color palette appeared: the tones, the blending, the way the figures were treated, all of which began to resemble the style that Michelangelo would use years later in none other than the Sistine Chapel,” says the narrator. After that, infrared reflectance method started to attract attention. Pentimentior modification mark, is a common indication that “the painting is not a copy, but an original work created with artistic freedom.”
it is Kimbell Art Museum Fort Worth, Texas, first made a big bet on its origins. The sufferings of Saint Anthony. The newly hired director purchased the painting after finding that “there was not a single convincing argument for attribution.” The work thus acquired became “the only painting by Michelangelo to exist anywhere in the Americas, and one of only four easel paintings that Michelangelo made during his lifetime,” most of which Michelangelo despised oil painting itself. Some ten years later, after further analysis, the art historian Giorgio Bonsanti, with great authority, conclusively confirmed that this was indeed the work of the young Michelangelo. Of course, there were still doubters, and even the famously uncompromising artist himself may have considered this an unrefined work unworthy of his name. But who else could have created something so immature?
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Based in Seoul, Colin Mbemust write and broadcastIt’s about cities, languages and cultures. he is the author of the newsletter books about cities books as well Home page (I won’t summarize Korea) and korean newtro. Follow him on the social network formerly known as Twitter. @Colinbemust.
Source: Open Culture – www.openculture.com
