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Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo's art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist's formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace.
Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall
List of contents
Foreword: Why More Michelangelo?
William E. Wallace
Acknowledgements
Illustrations
Contributors
Abstracts
Introduction: Michelangelo in the New Millennium
Tamara Smithers
Part 1: Artistic Mobility
Chapter 1: Site-Specificity
Joost Keizer
Chapter 2: Michelangelo's Strozzi Tondo?: Securing Status with Art
Eric R. Hupe
Part 2: Syncretic Seers
Chapter 3: The Pitti Tondo: A "Sibylline" Madonna
Emily Fenichel
Chapter 4: Christ-Bearers and Seers of the Period Ante Legem: On the Male Nudes in Michelangelo's Doni Tondo and Sistine Ceiling Frescoes
Jonathan Kline
Part 3: Papal Patronage: The Pauls
Chapter 5: Virtuous Prelates, Burdensome Relics and a Sliver of Gold in the Last Judgment
Erin Sutherland Minter
Chapter 6: Michelangelo the "Lefty": The Cappella Paolina, the Expulsion Drawings, and Marcello Venusti
Margaret Kuntz
Coda: Michelangelo's Suicidal Stone
Tamara Smithers
Epilogue: Twenty-first Century Versus Twentieth Century Methodologies
Marcia B. Hall
Index
About the author
Tamara Smithers, Ph.D. (2012), Temple University, is Associate Professor of Art History at Austin Peay State University. She has given numerous talks on Michelangelo and other Italian Renaissance topics at international conferences, universities, and museums and has recently published an essay on Michelangelo's use of the Giant Order at the Campidoglio in Rome (2013)
