Moises miguel angel comentario

moses miguel angel horns

Moses represents the biblical Moses in the book of Exodus. The work portrays the moment when Moses descends from Mount Sinai with the tablet of the Ten Commandments and finds the Israelites worshipping a golden calf.
Moses is framed by seven other secondary figures that together constitute the facade of the tomb of Pope Julius II. To the right and left of Moses, the main character, are Rachel and Leah, the sisters described in the book of Genesis who become involved in a marital entanglement whose descendants form the lineage of Jacob.
Moses is a work done at the most mature stage in Michelangelo’s art. The mastery of contrapposto, realized to perfection in his sculpture David, is intensified by the mastery of the creation of potential movement observed in Moses.
Although the figure is seated, the body language, the way he holds the tablets with the ten commandments while playing with his long beard and the seated position of passivity that contrasts with his expression of action gives the sculpture of Moses a deeper and more human dimension.

the piety of michelangelo

The sculpture of the prophet, sculpted in Carrara marble by the brilliant Italian sculptor, is surrounded by legends and curious facts. It was completed in 1515 and can be visited in the Basilica of San Pietro in Vincoli, in the Italian capital.
The Moses is a sixteenth-century sculpture, created by the brilliant Florentine sculptor Michelangelo Buonarotti commissioned by Pope Julius II. It was conceived in 1515 as part of the funeral monument of the supreme pontiff; an ambitious project that could not be realized and that relegated the tomb of the pope to the church of San Pietro in Vincoli, in Rome.
The Moses is surrounded by a series of curious facts. It is said that the artist thought that this was his most realistic work; when he finished it, Michelangelo ordered him to speak and when the marble colossus remained silent, he hit him on the knee with a hammer. The only thing left for the brilliant sculptor to do was to extract the breath of life from the marble.
The tomb was completed in 1545 and the tomb, attached to the wall, had lost part of the splendor projected by the artist. The sculpture, originally conceived so that it could be seen from all angles, can only be contemplated from the front.

details of michelangelo’s moses

The tomb of Julius II, a colossal structure that was to give Michelangelo enough space for his superhuman and tragic beings, became one of the great disappointments of the artist’s life when the pope, without offering any explanation, stopped the donations, possibly diverting those funds to Donato Bramante’s reconstruction of St. Peter’s. The original project consisted of a free-standing, unsupported, three-tiered structure with approximately 40 statues. After the pope’s death in 1513,[2] the scale of the project was gradually reduced until, in 1542, a final contract specified a tomb with a simple wall and less than a third of the figures included in the original project.
The first depiction of Moses with horns appears in an eleventh-century Anglo-Saxon manuscript (ca. 1050),a paraphrase of the Pentateuch and Joshua written by the monk Aelfric .[4]:13-15 Similar images are common throughout Western Europe thereafter,[4]:61-65including the stained glass windows of the cathedrals of Chartres and Notre Dame and the Sainte-Chapelle. [4]:65-74


El Papa Julio II encargó a Miguel Ángel la construcción de su tumba en 1505 y finalmente se terminó en 1545; Julio II murió en 1513[3] El diseño inicial de Miguel Ángel era enorme y requería más de 40 estatuas. La estatua de Moisés se habría colocado en una grada de unos 3,74 metros de altura, frente a una figura de San Pablo[3]: 566 En el diseño final, la estatua de Moisés se sitúa en el centro de la grada inferior.
La traducción al inglés de «El Moisés de Miguel Ángel» de Sigmund Freud también proporciona una descripción básica de la escultura: «El Moisés de Miguel Ángel está representado sentado; su cuerpo mira hacia delante, su cabeza con su poderosa barba mira hacia la izquierda, su pie derecho descansa en el suelo, y su pierna izquierda está levantada de manera que sólo los dedos del pie tocan el suelo. Su brazo derecho une las Tablas de la Ley con algo que parece un libro en la palma derecha de su mano con una parte de su barba; su brazo izquierdo está en su regazo»[5].
La representación de un Moisés con cuernos proviene de la descripción del rostro de Moisés como «cornuta» en la traducción de la Vulgata latina del pasaje que se encuentra en el capítulo 34 del Éxodo, concretamente en los versículos 29, 30 y 35, en los que Moisés regresa al pueblo tras recibir los mandamientos por segunda vez[12]. [La Biblia Douay-Rheims traduce la Vulgata como: «Y cuando Moisés bajó del monte Sinaí, tenía en sus manos las dos tablas del testimonio, y no sabía que su rostro estaba cornudo por la conversación con el Señor»[13].

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