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(Biography) full name Michelangelo Buonarroti. 1475–1564, Florentine sculptor, painter, architect, and poet; one of the outstanding figures of the Renaissance. Among his creations are the sculptures of David (1504) and of Moses which was commissioned for the tomb of Julius II, for whom he also painted the ceiling of the Sistine Chapel (1508–12). The Last Judgment (1533–41), also in the Sistine, includes a torturous vision of Hell and a disguised self-portrait. His other works include the design of the Laurentian Library (1523–29) and of the dome of St Peter's, Rome
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ˌmaɪ kəlˈæn dʒəˌloʊ, ˌmɪk əl-)

(Michelangelo Buonarroti), 1475–1564, Italian artist, architect, and poet.
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Noun1.Michelangelo - Florentine sculptor and painter and architectMichelangelo - Florentine sculptor and painter and architect; one of the outstanding figures of the Renaissance (1475-1564)
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[ˌmaɪkəlˈændʒɪləʊ] NMiguel Ángel
Collins Spanish Dictionary - Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005
References in classic literature ?
In Rome, along at first, you are full of regrets that Michelangelo died; but by and by, you only regret that you didn't see him do it.
She looked, indeed, like one of those wonderful boys of the Italian Renaissance, whom you may still see at the National Gallery, whose beauty is no denial, but rather the stamp of their slender, supple strength, young painters and sculptors who held the palette for Leonardo, or wielded the chisel for Michelangelo, and anon threw both aside to take up sword for Guelf or Ghibelline in the narrow streets of Florence.
If `genius is eternal patience', as Michelangelo affirms, Amy had some claim to the divine attribute, for she persevered in spite of all obstacles, failures, and discouragements, firmly believing that in time she should do something worthy to be called `high art'.
It was such love as Michelangelo had known, and Montaigne, and Winckelmann, and Shakespeare himself.
And now, just because he's got a studio, he thinks he has a right to go up in the air if you speak to him suddenly and run about the place hitting snakes with teaspoons as if he were Michelangelo!'
Wherever you find a Raphael, a Rubens, a Michelangelo, a Carracci, or a da Vinci (and we see them every day,) you find artists copying them, and the copies are always the handsomest.
The word 'human,' indeed, became the chosen motto of the Renaissance scholars; 'humanists' was the title which they applied to themselves as to men for whom 'nothing human was without appeal.' New creative enthusiasm, also, and magnificent actual new creation, followed the discovery of the old treasures, creation in literature and all the arts; culminating particularly in the early sixteenth century in the greatest group of painters whom any country has ever seen, Lionardo da Vinci, Raphael, and Michelangelo. In Italy, to be sure, the light of the Renaissance had its palpable shadow; in breaking away from the medieval bondage into the unhesitating enjoyment of all pleasure, the humanists too often overleaped all restraints and plunged into wild excess, often into mere sensuality.
In one, Michelangelo wrote, "I could make something by my hand, but then, having recognized and seen that the grace of God cannot be bought, and that to have it with discomfort is a grave sin, I say the fault is mine, and I willingly accept these things."
By the mid-sixteenth century, the phrase "ildwino" (the divine one) often accompanied mentions of Michelangelo. In MICHELANGELO: DIVINE DRAFTSMAN AND DESIGNER (Metropolitan Museum of Art, $65), curator Carmen C.
NYT Syndicate 'Michelangelo: Divine Draftsman and Designer' at the Metropolitan Museum of Art with more than 200 works, and a core group of 133 drawings by the beyond-famous artist on loan from some 50 front-rank collections is an art historical tour de force: a panoptic view of a titanic career as recorded in the most fragile of media " paper, chalk, and ink.
David Bickerstaff's 2017 feature-length doc "Michelangelo, Love and Death" examines the man behind such world-renowned masterpieces as "David." Screening before Bickerstaff was Bahij Hojeij's 2004 short "Saving Hasbaya," which has been folded into BAFF's section on local heritage and history.
Michelangelo Buonarrotti (1475-1564) was born in Caprese, Tuscany.

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