"Is it worth it?" asked the other, Michelangelesque
on the flooded margin.
This latter work has been considered a conservative combination of Michelangelesque
poses and Titianesque drapery, indeed a step back from the innovations in The Miracle of the Slave.
He is not a small shepherd boy but a muscular young athlete, with a physique that seems Davidic in the Michelangelesque
Furthermore, the Michelangelesque
ecorche in Valverde's anatomy book gave an unexpected twist to the representation of the Ovidian story in the fine arts (Bohde 25-34).
In the startlingly dramatic Temptation of St Anthony, the desert saint is assaulted by a Michelangelesque
demon and by a temptress who brutally tears into his flesh.
(30.) From Flaubert's well-known letter to Zola of 15 February 1880, in which (equally significantly) he invokes the greatest of painters: "La mort de Nana est Michelangelesque
." Cited by Colette Becker in her edition of Nana, xxiv.
Once long ago, when my older sister and I were seated on the wine-colored rug at his feet, musing with him over the vagaries of memory, and why it is that certain moments get stored while so many others vanish, he put his long, Michelangelesque
forefinger close to my small face and said, "You vil remember this moment all your life--all your life you vil remember it!" He did not merely consider the question of memory's nature and how it selects.
His brushwork is thus even more open than Titian's, and he doubles the site-specific dimension of the hitter's compositions while transforming his often ceremonial gravity into a disorienting whirlwind, with figures rendered in Michelangelesque
foreshortening jetting at light speed in all directions.
And here they see painted / an arabesque figure, a harpy, / a man fleeing from anatomy." (53) The sense here seems to be that the (anti-?) Michelangelesque
image of the man would be a starved, skeletal figure, so reduced that he could be mistaken for a flayed or dried specimen.
His struggle nevertheless to combine Michelangelesque
form with Venetian color is evident in early variations on themes that he treated repeatedly, "Christ Healing the Blind," for example, or "The Purification of the Temple" (the first example of which includes portraits of Titian, Michelangelo, Giulio Clovio and Raphael in the lower right corner).
Like a mother who is about to lose her child, Gesuzza is framed in a sequence of close-ups with Michelangelesque
evocations of human piety and sacrifice.
There are also precipitate sketches -- energetic, heaped-up scrumbles of colour in which verisimilitude is flouted -- of The Lamentation (Jacksonville Museum) and a Michelangelesque
St Sebastian (Galleria Corsini, Rome).