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Alan Pascuzzi - Becoming Michelangelo: Apprenticing to the Master, and Discovering the Artist through His Drawings

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Alan Pascuzzi Becoming Michelangelo: Apprenticing to the Master, and Discovering the Artist through His Drawings
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Becoming Michelangelo: Apprenticing to the Master, and Discovering the Artist through His Drawings: summary, description and annotation

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Michelangelos developing genius is revealed as never before by the man who became Michelangelos last apprentice
an American artist and art historian whose family helped carve Mount Rushmore.

Many believe Michelangelos talent was miraculous and untrained, the product of divine geniusa myth that Michelangelo himself promoted by way of cementing his legacy. But the young Michelangelo studied his craft like any Renaissance apprentice, learning from a master, copying, and experimenting with materials and styles. In this extraordinary book, Alan Pascuzzi recounts the young Michelangelos journey from student to master, using the artists drawings to chart his progress and offering unique insight into the true nature of his mastery.
Pascuzzi himself is today a practicing artist in Florence, Michelangelos city. When he was a grad student in art history, he won a Fulbright to apprentice himself to Michelangelo: to study his extant drawings and copy them to discern his progression in technique, composition, and mastery of anatomy. Pascuzzi also relied on the Renaissance treatise that Il Divino himself would have been familiar with, Cennino CenninisThe Craftsmans Handbook(1399), which was available to apprentices as a kind of textbook of the period.
Pascuzzis narrative traces Michelangelos development as an artist during the period from roughly 1485, the start of his apprenticeship, to his completion of the Sistine Chapel ceiling in 1512. Analyzing Michelangelos burgeoning abilities through copies he himself executed in museums and galleries in Florence and elsewhere, Pascuzzi unlocks the transformation that made him great. At the same time, he narrates his own transformation from student to artist as Michelangelos last apprentice.

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Copyright 2019 by Alan Pascuzzi All rights reserved No part of this book may - photo 1

Copyright 2019 by Alan Pascuzzi All rights reserved No part of this book may - photo 2

Copyright 2019 by Alan Pascuzzi All rights reserved No part of this book may - photo 3

Copyright 2019 by Alan Pascuzzi

All rights reserved. No part of this book may be reproduced in any manner without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Arcade Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018.

First Edition

Passages from The Craftsmans Handbook by Cennino Cennini, translated by D. V. Thompson are reprinted by permission of Dover Publications.

Arcade Publishing books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fund-raising, or educational purposes. Special editions can also be created to specifications. For details, contact the Special Sales Department, Arcade Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018 or .

Arcade Publishing is a registered trademark of Skyhorse Publishing, Inc., a Delaware corporation.

Visit our website at www.arcadepub.com.

Visit the authors site at www.alanpascuzzi.com.

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Library of Congress Cataloging-in-Publication Data

Names: Pascuzzi, Alan, author.

Title: Becoming Michelangelo : apprenticing to the master, and discovering the artist through his drawings / Alan Pascuzzi.

Description: First edition. | New York : Arcade Publishing, 2019.

Identifiers: LCCN 2018055735 | ISBN 9781628729153 (hardback)

Subjects: LCSH: Michelangelo Buonarroti, 1475-1564Knowledge and learning. | ArtStudy and teaching. | Drawing, ItalianCopying. | CYAC: ArtistsTraining of. | BISAC: ART / History / Renaissance. | ART / European. | BIOGRAPHY & AUTOBIOGRAPHY / Artists, Architects, Photographers.

Classification: LCC N6923.B9 P376 2019 | DDC 709.2dc23 LC record available at https://lccn.loc.gov/2018055735

Jacket design by Erin Seaward-Hiatt

Front jacket artwork: Alan Pascuzzi (figure drawing); janeb13/Pixabay (Creation of Adam detail); iStockphoto (paper and fabric textures)

Printed in China

This work is dedicated to my parents,
Louis and Yolanda,
whose love and gentleness are with me always;

to all of those who offered support and encouragement in my endeavors;

to my wife, Loredana; and to my children, Gioele, Elia,
and little Amelia, who was born when I was finishing this book.

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 4

Contents

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 5

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 6

Authors Note

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 7

A DANGEROUS DIMENSION OF MASTERY

There I sat, staring at what I had done. It was February 1996, and I was alone in the drawing room of the British Museum in London, surrounded by boxes of some the most important drawings by Michelangelo. Before me was an original Michelangelo drawing in red chalk, perhaps one of his finest, a study of Adam for the Sistine Chapel ceiling (). I had spent hours that morning drawing it while carefully studying the original. There wasnt a single mark, stroke of shading, muscle, or stray line that I did not reproduce. It was a cloned Michelangelo original. And I sat and looked, feeling radiant and glorious. I had spent the last five years copying Michelangelo drawings, and this was the finest I had executed yet. Then, suddenly, an uncharacteristically sinister thought popped into my head. I looked around; no one was watching. I could return my copy with the originals and place t he or iginal in my portfolio and simply walk out. My God , I thought, I could take this!

FIGURE 1 Michelangelo study for Adam red chalk 190 x 237 mm 77 x 93 - photo 8

FIGURE 1: Michelangelo, study for Adam, red chalk, 190 x 237 mm (7.7 x 9.3 inches).

FIGURE 2 Alan Pascuzzi copy after Michelangelo study for Adam red chalk - photo 9

FIGURE 2: Alan Pascuzzi, copy after Michelangelo, study for Adam, red chalk, 190 x 237 mm (7.7 x 9.3 inches).

I could already see the headline in the International Herald Tribune : Fulbright Scholar Steals Michelangelo Drawing and Replaces It with Exact Copy. How many years could I get for it? Would it be worth it for the glory and fame? Wait , I thought, isnt this what Michelangelo did to Ghirlandaio? Didnt he copy his masters drawings so well that he put his copies back into the masters portfolio and passed them off as originals? I sat there, reflecting on whether I should begin a life of crime right there in the British drawing cabinet. An attendant passing by interrupted my imagined brush with crime and infamy and brought me down to earth. I placed the Michelangelo original back in its boxnot without some faint regret, I admit.

While collecting my drawing tools and slipping my copy into my portfolio, I began to think of what this meant. I had arrived, finally. After years of libraries and travels and fighting against the yin and yang of my academic and artistic schizophrenia, with this copy, this perfect copy, perhaps I had finally entered into that long-desired realm: a dimension of mastery.

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 10

PREFACE

What This Book Is

Becoming Michelangelo Apprenticing to the Master and Discovering the Artist through His Drawings - image 11

I OWE THE READER AN explanation of the nature of this book. In 1999, I submitted my PhD dissertation, Michelangelos Early Drawings: The Formation of the Artist , to my committee at Washington University in St. Louis, Missouri. In it, I presented a scholarly and artistic study of all of Michelangelos early drawings in a dense, cold, note-ridden academic brick of four hundred pages. Only the professors on my committee read my dissertation, I suspectseven in all. This book, however, is not for an academic committee of seven. Instead, Becoming Michelangelo is an artists study of an artistthe way I had always desired to study him. It is for anyone who loves Michelangelos art and is moved by his genius.

In writing this book, I returned to the Kunsthistorisches Library in Florence where I had done all of my dissertation research. The Kunst, as it is affectionately called by art historians, contains one of the most complete collections of art history publications on Earth. As I looked up at the section where the books on Michelangelo are kept, I was confronted with several huge wooden shelves filled from floor to ceiling with literally hundreds of tomes on Michelangeloon his art, poetry, everything down to his bank records. There are four volumes of just the lists of books and articles written about him alone. Five hundred forty-odd years after Michelangelos death, art historians are still writing about himand give no signs of stopping. There are dozens of biographies, from Condivi and Vasari to Hibbard and even my own professor, William Wallace, that contain a comprehensive view of his life and works. The best of all wasnt written by an art historian and isnt even an academic biography. It is Irving Stones The Agony and the Ecstasy , a brilliantly written novel about Michelangelo that weaves historical fact and fiction to provide an insightful view of the artists life and work. I suggest all of these works for the reader interested in the life of Michelangelo.

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