Michelangelo - Bacchus / Bacco marble sculpture, Firenze - Italian art postcard

Art Postcard
• Work of art title: Bacco [Bacchus]
• Artist (if known): Michelangelo
• Media or other details:  marble sculpture
• Publisher / Gallery: R. Museo Nazionale, Firenze / Edn. A. Traldi
• Postally used:  no
• Stamp & postmark details (if relevant): n/a
• Size: standard
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A495

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I will give a full refund if you are not fully satisfied with the postcard.

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo (Italian pronunciation: [mike'land?elo]), was anItalian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art.^[1] Considered the greatest living artist in his lifetime, he has since been held as one of the greatest artists of all time.^[1] Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his fellow ItalianLeonardo da Vinci.

A number of his works in painting, sculpture, and architecture rank among the most famous in existence.^[1] His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century.

Two of his best-known works, the Pietà  and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At the age of 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo's design, the dome being completed after his death with some modification.

In a demonstration of Michelangelo's unique standing, he was the first Western artist whose biography was published while he was alive.^[2] Two biographies were published of him during his lifetime; one of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries.

In his lifetime he was also often called Il Divino (""the divine one"").^[3] One of the qualities most admired by his contemporaries was his terribilità , a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate^[4] Michelangelo's impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance.

...

The kneeling angel is an early work, one of several that Michelangelo created as part of a large decorative scheme for the Arca of St Dominic in the church dedicated to that saint in Bologna. Several other artists had worked on the scheme, beginning with Nicola Pisano in the 13th century. In the late 15th century, the project was managed by Niccolò dell'Arca. An angel holding a candlestick, by Niccolò, was already in place.^[65]Although the two angels form a pair, there is a great contrast between the two works, the one depicting a delicate child with flowing hair clothed in Gothic robes with deep folds, and Michelangelo's depicting a robust and muscular youth with eagle's wings, clad in a garment of Classical style. Everything about Michelangelo's angel is dynamic.^[66] Michelangelo's Bacchus was a commission with a specified subject, the youthful God of Wine. The sculpture has all the traditional attributes, a vine wreath, a cup of wine and a fawn, but Michelangelo ingested an air of reality into the subject, depicting him with bleary eyes, a swollen bladder and a stance that suggests he is unsteady on his feet.^[65] While the work is plainly inspired by Classical sculpture, it is innovative for its rotating movement and strongly three-dimensional quality, which encourages the viewer to look at it from every angle.^[67] In the so-called Dying Slave, Michelangelo has again has utilised the figure with marked contraposto to suggest a particular human state, in this case waking from sleep. With the Rebellious Slave It is one of two such earlier figures for the Tomb of Pope Julius, now in the Louvre, that the sculptor brought to an almost finished state.^[68] These two works were to have a profound influence on later sculpture, through Rodin who studied them at the Louvre.^[69] The Bound Slave is one of the later figures for Pope Julius' tomb. The works, known collectively as The Captives, each show the figure struggling to free itself, as if from the bonds of the rock in which it is lodged. The works give a unique insight into the sculptural methods that Michelangelo employed and his way of revealing what he perceived within the rock.^[70]

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted