Artists' Letters: Leonardo da Vinci to David Hockney

Tony I. Bruckner

20 Minutes Ago - FREE READ NOW: https://lenteragunungbudeg.blogspot.com/?book=0711241287 ==> Available Formats: #eBook #Audibook #PDF #Kindle #ePub #Mobi <== (Get the book Now) Artists' Letters: Leonardo da Vinci to David Hockney By Full Pages. Immerse yourself in a tale of love, loss, and triumph. Your next great read awaits! Don't miss out � grab your copy today and lose yourself in a story that will stay with you long after the last page.. Book Summary: Artists' Letters: Leonardo da Vinci to David Hockney Guercino (1591�1666) and Paolo Antonio Barbieri (1603�49) to unknown recipient 1636 In Greek mythology, when Sisyphus, the crafty king of Corinth, arrives in the Underworld, he is condemned to push a boulder up a hill. No sooner has he reached the summit than the rock rolls down, forcing Sisyphus endlessly to repeat his labours. Around 1636 the Bolognese painter Giovanni Francesco Barbieri (known as Guercino, �the squinter�) made numerous drawings of Sisyphus, exploring ways of showing a middle-aged male body struggling with an impossible burden. In some, Sisyphus carries the boulder on his back in others he heaves it uphill. In one, sketched on the back of a letter, he clasps the rock to his chest. Guercino may have been preparing for a painting of Sisyphus commissioned by Count Girolamo Ranuzzi (now lost). He later returned to the theme in Atlas Supporting the Celestial Globe (Museum Bardini, Florence). The draft letter Guercino reused (he rarely ran short of fresh paper) was written by his younger brother, Paolo Antonio, to a patron. Paolo was also an artist, though he stuck to modest subjects such as still lifes, to which Guercino sometimes added figures. Paolo mentions Guercino�s painting Abigail Appeasing the Wrath of David (now lost) and seems to be interceding on his behalf to correct some misunderstanding. But the draft is too fragmentary to give much more than a general impression of an artist facing the familiar problem of finding a tone between robust professionalism and servility. Sebastiano del Piombo (1485�1547) to Michelangelo Buonarroti 29 December 1519 In the early sixteenth century, many leading Italian artists and architects were headhunted to work on prestige projects in Rome, including both Michelangelo and the Venetian painter Sebastiano Luciani (known as �del Piombo� after his later appointment as Keeper of the Papal Seals). The two artists became compare (mates) and collaborators � an unusually close creative relationship for the notoriously difficult Michelangelo. In 1516 Cardinal Giulio de� Medici commissioned Sebastiano to paint the Raising of Lazarus (National Gallery, London), on the understanding that Michelangelo would first draw the figures. This was effectively a talent contest, pitting the two artists against Raphael, whose Transfiguration (Vatican Museums, Rome) Giulio had also commissioned. By the time the painting was finished, Michelangelo was back in Florence. Knowing that his compare may be overwhelmed by his workload, Sebastiano tries to impress on him how urgently he needs to be paid, for which the cardinal requires Michelangelo�s sign-off. My dearest compare, it is many days since I received your most welcome letter, and I am extremely grateful that you did me the honour of agreeing to be my son�s godfather. As for those women�s rituals, they are not the custom in our house it is enough for me that you are my compare. I�ll send you the [baptismal] water with the next letter. I had the baby baptised some days ago and called him Luciano, which is my father�s name. Artists' Letters: Leonardo da Vinci to David Hockney PDF Download Artists' Letters: Leonardo da Vinci to David Hockney KINDLE Artists' Letters: Leonardo da Vinci to David Hockney EBOOK Artists' Letters: Leonardo da Vinci to David Hockney EPUB Artists' Letters: Leonardo da Vinci to David Hockney Read Online Artists' Letters: Leonardo da Vinci to D