doc1 1546 painting .pdf
Nom original: doc1-1546 painting.pdf
Titre: doc1-1546 painting
Auteur: Jean-Francois David
Ce document au format PDF 1.7 a été généré par FreePDF 4.14 - http://shbox.de / GPL Ghostscript 9.06, et a été envoyé sur fichier-pdf.fr le 17/10/2016 à 01:45, depuis l'adresse IP 70.81.x.x.
La présente page de téléchargement du fichier a été vue 222 fois.
Taille du document: 4.1 Mo (8 pages).
Confidentialité: fichier public
Aperçu du document
1546 painting by Michelangelo doc 1
-In 1546 Michelangelo accepted to do a painting for Francis the 1st. I pretend to own this painting, the story of this
painting is very counter-intuitive and unconventional, the most unique an unlikely story in art history.
-No art Historians have ever really notice or understood that Michelangelo developed a series of double images. First
there are 2 drawings available and then the double images are developed in the Sistine ceiling in the form of a hidden
anatomical lesson and then 25 years later in a giant profile in the Last judgement. The 1546 painting builds on that
concept of double images and optical illusions.
The 2 artists closest to that art 1546 painting are: Arcimboldo (primitive surrealism) and Octavio Ocampo (modern
Here, is where it will be difficult to believe in my story: I pretend that Michelangelo did a surrealist copy of Giorgione.
Using Venetian landscape art to make a very complex set of double images. If you can give me the benefit of the
doubt for now, you might be able to explore this extreme unconventional story. This story is make absolute sense if
you follow this logic here:
-Michelangelo did recycle a lot of existing renaissance work in new and unseen stuff.
-A rocky landscape is the best medium to build hidden double images, because rock are the most random thing, more
random than clouds, figures or anything you could imagine.
-the Giorgione’s landscapes are the biggest and the more interesting ever done in 1546,
-By borrowing an existing rocky landscape, Michelangelo can concentrate 100% of his effort in the set of double
images, so he can go very very far in that direction. Octavio Occampo did just that with the Mona Lisa and with this
tactic he could do more double images then ever before.
-The hidden anatomical lesson and hidden profile of the Last Judgement are preliminary experiences in double
images, more and more edgy from one project to another, the 1546 painting is a very complex set of double images,
made from rocky fragmentation.
-Double images are fun, challenging and very special item in art. Michelangelo after the last judgement did not have a
lot of challenge left in painting but doubles images will put his talent on the block like nothing else
-Francis 1st request and letters was the perfect opportunity to execute this Giorgione surrealist copy and to send it far
away from Italy, where the original painting is not known.
-Sebastiano del Piombo work both with Michelangelo and Giorgione, and he might also did finish Giorgione’s
Adoration of the Shepherds
-The story of Michelangelo, his talent and behavior are indeed extreme and unconventional, a simple conventional
painting would not fit as the 1546 painting, and this story is more than unconventional. See here how Michelangelo
could do disruptive art: (almost bestiality… leda and… open nudity in the Sistine Chapel)
-Province of Quebec was in fact a safe-heaven in the 1800’s for second class religious work art. Classified only as a
Giorgione copy, the 1546 painting would pass like a non-event for his lifetime. I’m the only one to know and to raise
this story about double images.
-Went somebody like me underlines a hidden anatomical drawing in a renaissance painting, take great care,
Michelangelo and Leonardo would be the primary suspects. So important that no one should let their guards down
and study every detail of the painting.
-This story is so crazy in many ways that no one could invent such painting and such story by about 100
coincidences... so the only reasonable way to see all this is that Michelangelo was behind this painting in 1546.
Reasonably, you should give me the benefit of the doubt and study every aspect this painting.
Quebec City, Canada
1 (418) 523-2348