Микеланджело как архитекторМикеланд

Микеланджело как архитектор
Микеланджело Буонарроти сегодня больше всего известен как скульптор, живописец и чертежник. Немногие посетители Сикстинской Капелла в Ватикане знают о его огромном вкладе в окончательный дизайн и постройку храма Св. Петра. Из сотен тысяч людей, которые приходят, чтобы увидеть его "Давида" в Академии во Флоренции, только несколько будут знать о существовании его Библиотеки Св.Лаврентия в том же самом городе — здания с одним из самых революционных дизайнов интерьера в архитектурной истории.
Все же флорентийский художник потратил большую част своей долгой карьеры, занимаясь архитектурой — он посвятил 18 лет одному только храму Св. Петра — чем любым другим занятием.
Микеланджело первоначально обучался на живописца, но создатель потолка Сикстинской Капеллы отрицал, что это было — или когда-либо вообще было по-настоящему — его призванием.
Точно так же, когда он был приглашен, чтобы взяться за дизайн для Библиотеки Св.Лаврентия в 1524, он предупредил: "Faro cio che io sapro, benche non sia mia professione" — я сделаю все, что я могу, хотя это не моя профессия.
Хотя художник уничтожил многие свои рисунки перед своей смертью в феврале 1564, значительное число архитектурных чертежей избежало огня. Без них мы имели бы смутное представление о его очень нетрадиционных методах работы, который привели в свою очередь к очень оригинальным архитектурным решениям.
Когда его попросили в 1515 участвовать в проектировании фасада для церкви Св.Лаврентия во Флоренции, к зданию которой была бы позже добавлена Библиотека св.Лаврентия, Микеланджело признался, что ему недоставало опыта в таком виде проектирования. Соответственно, он поспешил преодолеть это препятствие, пройдя через курс самообучения, используя по-особому так называемые Варианты проекта, древний рукописный сборник архитектурных и декоративных рисунков, с которых он скопировал классические мотивы и элементы.
Не любитель работать в команде, Микеланджело работал один, защищая свое независимое положение и никогда, как он сам говорил о себе, "никаким не живописцем или скульптором с собственной студией. " Действуя вне системы студий, его часто привлекали к проектированию оформления его собственных скульптур.
Убежденный, что понимание человеческого тела было необходимым умением в архитектуре как в изобразительном искусстве, художник приступал к дизайну произведений архитектуры почти так же, как он делал бы предварительный эскиз. Вместо того, чтобы начинать с простого наброска "идеи" и дорабатывать более подробно и точно рисунки на следующих листках бумаги, Микеланджело как правило делал начальный эскиз и затем неоднократно пририсовывал что-то поверх него, создавая своего рода многослойный рисунок, по мере того, как развивались его идеи.
Одним замечательным результатом такого подхода было то, что, попробовав различные наложенные друг на друга варианты вместо того, чтобы просто выбрать один из них, он объединял элементы нескольких, чтобы создать смешанные версии, которые были новыми и оригинальными.
Бумага была дорогая, и художник был очень практичным, таким образом, каждый используемый листок бумаги, включая его собственные
черновики писем и те письма, которые он получал от других, были покрыты с обеих сторон его рисунками.
Эффективно воспроизведя архитектурные произведения на бумаге, он затем делал модель из глины или воска точно такую же, какую он делал для скульптуры, и в этой форме он продолжал изменять дизайн. Хотя художник изучал классические здания и их декоративные элементы, его подход не был археологическим, поскольку он считал их важными средствами для окончания создания чего-то нового.
Правила, когда он с ними сталкивался, даже если они были установлены еще в античность, непременно должны были быть нарушены, а он и нарушал, часто к удивлению и испугу своих современников. Кроме того его применение скульптурных методов в моделировании зданий и его манипуляции с пространством, светом и тенью помогло сломать границу между конструкцией и художественным оформлением, придавая новое значение свободе.
Понадобилось время, чтобы полностью понять эти уроки, и причудливые строители Бернини и Борромини, родившиеся более чем через 30 лет после смерти Микеланджело, были его первыми истинными учениками.
Именно Бернини сказал о нем: "Он был великим скульптором и живописцем, но архитектором он был от Бога."

Английская версия текстов, переведенных выше:
Michelangelo as an Architect
Michelangelo Buonarroti is now most famous as a sculptor, painter and draftsman. Few visitors to the Sistine Chapel in the Vatican may be aware of his enormous contribution to the final design and completion of St. Peter's. Of the hundreds of thousands who go to see his "David" at the Academia in Florence, only a handful will even know of the existence of his Laurentian Library in the same city — one of the most revolutionary interior designs in architectural history.
Yet, the Florentine artist spent more of his long career occupied with architecture — he devoted 18 years to St. Peter's alone — than with any other pursuit.
Michelangelo had initially trained as a painter, but the creator of the Sistine ceiling denied that this was — or had ever really been — his calling.
Similarly, when invited to undertake the design for the Laurentian Library in 1524, he warned: "Faro cio che io sapro, benche non sia mia professione" — I'll do what I can, although it's not my profession.
Though the artist destroyed many of his drawings before his death in February 1564, a reasonable number of architectural drawings escaped the flames. Without them we would have little idea of his highly unconventional working methods, which pro¬duced in turn highly original architectural results.
On being asked in 1515 to collaborate on the design of the facade for the church of San Lorenzo in Florence, to which com¬plex the Laurentian Library would later be added, Michelangelo recognised that he lacked experience in this type of design. Accordingly, he hastened to put himself through a crash, teach- yourself course, making particular use of the so-called Codex Coner, a manu¬script compendium of architectural and decorative drawings from which he copied classical motifs and features.
Not a team player, Michelangelo worked alone, defensive of his indepen¬dent status and never, as he said him¬self, "the kind of painter or sculptor to keep a studio." Operating outside the studio sy

Результаты (английский) 1:

Michelangelo as an architectMichelangelo Buonarroti today is best known as a sculptor, painter and draftsman. Few visitors to the Sistine Chapel in the Vatican know about his great contribution in the final design and construction of the Church. Peter. Of the hundreds of thousands of people who come to see its "David" at the Academy of Florence, only a few would know of the existence of his library of St Lawrence in the same town — a building with one of the most revolutionary interior designs in architectural history.Still, the Florentine artist spent most part of his long career, studying architecture, he devoted 18 years to one only of the Church of St. Peter — than any other occupation.Michelangelo originally studied at painter, creator of the ceiling of the Sistine Chapel, but denied that it was is or ever was truly his calling.Similarly, when he was invited to take on the design for the library of St. Lawrence in 1524, he warned: "cio che io Faro sapro, benche non sia mia professione" — I will do all I can, although it is not my profession.Although the artist destroyed many of his drawings before his death in February 1564, a large number of architectural drawings escaped the fire. Without them we would have had a vague idea of it very innovative methods of work, which led in turn to the very original architectural solutions.When he was asked to participate in the design of 1515 façade for the Church of St. Lawrence in Florence, to the building which was later added the library of St Lawrence, Michelangelo has admitted that his lack of experience in this form of design. Accordingly, he hastened to overcome this obstacle by passing through a self-study course, using the so-called special versions of the draft manuscript, an ancient architectural and decorative drawings from which he copied classical motifs and elements.Not a fan of team work, Michelangelo worked alone to protect its independent position and never, as he talked about himself, "no not a painter or a sculptor's Studio." Acting outside the system of studios, it is often attracted to the design of his own sculptures.Convinced that the understanding of the human body was a necessary skill in architecture as in art, the artist started to design works of architecture in much the same way as it would make a preliminary sketch. Rather than begin with a simple outline of the "ideas" and further develop a more detailed and precise drawings on the following sheets of paper, Michelangelo is usually done the initial sketch and then the National Basketball Association has something on top of it, creating a sort of multi-layered figure, as his ideas evolved.A remarkable result of this approach was that, having tried a variety of overlapping options instead of just select one of them, he combined several elements to create mixed versions that were new and original.Paper was expensive, and the artist was very practical, so every piece of paper was used, including its owndrafts of letters and the letters he received from others, both sides were covered with his drawings.Effectively reproduce the architectural works on paper, he then made a model out of clay or wax is exactly the same as it did for sculpture, and in this form it continued to change. Although he studied classical buildings and their decorations, his approach had been to archaeological, because it considered them important tools for the creation of something new.The rules, when he clashed with them, even if they were set back in antiquity, necessarily had to be broken, and he violated, often to the amazement and fright of his contemporaries. In addition the use of sculptural techniques in modeling of buildings and its manipulation with space, light and shadow has helped break down the boundaries between design and decoration, giving new meaning to freedom.It took the time to fully understand these lessons, and bizarre builders of Bernini and Borromini, was born more than 30 years after the death of Michelangelo, were his first true disciples.It was Bernini said about him: "he was a great sculptor and painter, but he was the architect of God."The English version of the texts translated above:Michelangelo as an ArchitectMichelangelo Buonarroti is now most famous as a sculptor, painter and draftsman. Few visitors to the Sistine Chapel in the Vatican may be aware of his enormous contribution to the final design and completion of St. Peter's. Of the hundreds of thousands does who go to see his "David" at the Academia in Florence, only a handful will even know of the existence of his Laurentian Library in the same city is one of the most revolutionary interior designs in architectural history.Yet, the Florentine artist spent more of his career long with occupied architecture — he devoted 18 years to St. Peter's alone — than with any other pursuit.Michelangelo had well-trained initially as a painter, but the creator of the Sistine ceiling denied that this was, or had ever really been is his calling.Similarly, when invited to undertake the design for the Laurentian Library in 1524, he warned: "cio che io Faro sapro, benche non sia mia professione" — I'll do what I can, although it's not my profession.Though the artist destroyed many of his drawings before his death in February 1564, a reasonable number of architectural drawings escaped the flames. Without them we would have little idea of his highly unconventional working methods, which are pro-duced in turn highly original architectural results.On being asked in 1515 to collaborate on the design of the facade for the church of San Lorenzo in Florence, to which com-plex the Laurentian Library would later be added, Michelangelo recognised that he lacked experience in this type of design. Accordingly, he hastened to put himself through a crash, teach-yourself course, making particular use of the so-called Codex Coner, a manu-script compendium of architectural and decorative drawings from which he copied classical motifs and features.Not a team player, Michelangelo worked alone, defensive of his indepen-dent status and never, as he said him-self, "the kind of painter or sculptor to keep a studio." Operating outside the studio sy

Результаты (английский) 3:

Lord Michelangelo as an architect
Michelangelo Буонарроти today is best known as a sculpture, paintings and designer.Few visitors Sistine Capella in the Vatican know of his huge contribution in the final design and construction the temple of St. Peter. One of the hundreds of thousands of people, who come,To see his "David" in the Academy in Florence, only a few will know about the existence of its library St. Helena.