Michelangelo

the late Howard Hibbert is as magnificant as his subject. A great and learned read.

If you were to read only one text dealing with the great Michelangelo and his art, this would be the book. It is a succinct biography in which one also finds clear and well chosen discussions of the artistic works of the great Florentine. It would be fair to say that Professor Hibbard is a graceful guide to these works--he shows us the key elements of the sculpture, painting and architecture that made Michelangelo the preeminent figure of the Renaissance. And he presents them to us as the artist's life unfolds, so that we can understand the challenges met and problems solved at various stages in Michelangelo's development. The book is filled with a large number of black and white photographs as well as plans and drawings which, together, help the reader understand each of the works being discussed. Indeed, the reader would be hard pressed to find more than a handful of opposing pages that do not have one or more illustrations. For those who are so inclined and long to see more of each work, they are titled so clearly that a quick search on line can bring plenty more to look at. But the illustrations provided in the book are more than sufficient for the reader's understanding. If you are looking for a shocking expose of Michelangelo the man, with all of his secrets revealed (warts and all!), then you do not want to read this book. Professor Hibbard discusses Michelangelo's personality and personal life in detail, but always in the context of his creations. He writes with a deft and gentlemanly reserve that allows the reader to accept the facts without drawing unreasonable conclusions. The conversations about the well-known works - the Pieta, the David, the Sistine Chapel ceiling and Last Judgment - are all clear and helpful. The on and off again relationships with various Medici and Popes provides a helpful understanding of how and why some of the artist's projects were unfinished, or completed in terms altogether different from their conception. The discussions of the architectural contributions of Michelangelo are very good, and provide the reader with an appreciation of the sculptural qualities of these larger than life sculptures. Indeed, Hibbard's discussion of the Bibliotheca Laurenziana stairway and St Peter's are the best sort of architectural criticism to be found anywhere. At the end of the book, but separate from the extensive bibliography, is a section called "Notes for Further Reading", which, if followed, could benefit the reader who wants to know more. If you find this review hepful, why not read some of my other reviews! Happy reading!

There is probably no greater art historian in the second half of the 20th century than Howard Hibbard and this book is one of his best. Professor Hibbard, who has also written books on Caravaggio and a study of Poussin turns his attention to Michelanglo. This is not a rehash of The Agony and Ecstasy, Professor Hibbard's interest is in the work and the artist and not a study of the outward events of this great artist's life. I found Professor Hibbord's criticism insightful and interesting. I recommend this to anyone who is interested in the renaissance.

I am using this book for a college level course in Art History and am finding it very useful. The cronological format and detailed events throughout Michelangelo's life are both very helpful and I am learning quite a lot just from this one book. I do wish that there were color plates to go along with the text *there are black and white images, though*. Otherwise, it is highly educational and an interesting read. A very good buy!

In _Michelangelo_, Hibbard presents a unbiased account of Michelangelo's life in an enjoyable mix of historical narravitve and critical and contextual analysis. The writing is approachable with a minimum of high-brow art jargon. Hibbard also refrains from diving too deep into speculation about fine points such as sexuality and politics. This book is suited for those desiring an end-to-end introduction to the man and his art, or for those who have forgotten 90% of art survey 101, like me.