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Ophavsret Dette værk er i det offentlige domæne. Michelangelo Anselmi døde i 1556; ophavsretten varer 70 år efter kunstnerens død, så den udløb i 1626.
I kontekst
Apollo and Marsyas — Michelangelo Anselmi
Originalen måler 76 × 136 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.
Skyggelagt: Michelangelo Anselmi' livstid (1492–1556) ▲ dette værk, 1540
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Om dette kunstværk
Apollo and Marsyas — Michelangelo Anselmi
A young person with long, dark blond hair, wearing a knee-length, pale yellow toga, stands playing a violin-like instrument at the center of this long, horizontal landscape painting, with a pair of people to the left and a pair of people to the right. Most of the people have pale skin, and two of the men have slightly darker, tanned complexions. The person at the center, Apollo, nearly spans the height of the painting. He tips his head back and to our right, toward the instrument on his shoulder, and he looks at us with dark eyes, lips parted. With his other hand, he holds a bow to the instrument’s strings. A dark green wreath of leaves encircles his head, and a quiver of arrows are tied with a pine-green ribbon across his chest. His legs are bare, and he wears sandals tied onto his feet. An archer’s bow lies on the dirt ground behind his feet. To our right, a man with a swarthy complexion and a dark beard and hair, Marsyas, sits on a rock playing a bagpipe. He faces our left in profile, looking up at Apollo, and he wears a red robe over a royal-blue tunic. Behind him and to our right, near the edge of the panel, a blond woman wearing a rose-pink dress also plays a bagpipe as she looks down onto her reflection in a pool below, in the lower right corner of the composition. Her left foot rests on a white and gold shield, and a golden helmet sits next to her other foot. Marsyas and Apollo appear again as a pair to our left. Marsyas is now nude and tied to a tree, his body facing us, near the left edge of the panel. His mouth is open and he looks toward Apollo, who approaches from our right. Apollo grabs Marsyas’s left wrist, on our right, and holds a knife to the nude man’s upper arm. The set of bagpipes, the quiver of arrows, Marsyas’s clothing, and Apollo’s instrument are strewn on the ground around the men’s feet. The scenes take place in a rocky landscape with dark green shrubs along the bottom edge of the composition and behind the people. A river runs across the land beyond, and people walk along dirt roads in the distance. Trees, craggy cliffs, and a town in the deep distance are painted with icy blue under a blue sky.
Kunstner og museum
Født i Tuscany, Italy
Michelangelo Anselmi (c. 1492 – c. 1556) stands as a pivotal figure in the artistic landscape of Parma during the High Renaissance and its subsequent Mannerist transition. Born likely in Tuscany, perhaps Lucca, into an aristocratic family tracing its lineage back to Lombard origins—the Anselmi di Cardano—his early life remains shrouded in relative obscurity, leaving much to speculation regarding formative influences beyond his Tuscan roots. However, by 1500 he had established himself in Siena, where documented appearances suggest a burgeoning artistic career marked by commissions for prominent patrons and an immersion into the stylistic currents of the time.
Early Training & Influences: Anselmi’s formative years were shaped by the tutelage of Il Sodoma and Domenico Beccafumi, masters renowned for their expressive Mannerist style—a movement characterized by elongated figures, dramatic poses, and a deliberate distortion of perspective aimed at conveying psychological intensity. These influences undoubtedly instilled in him a penchant for capturing emotion and dynamism within meticulously crafted compositions.
Arrival in Parma & Patronage: Anselmi’s relocation to Parma around 1515 proved transformative, securing him access to the influential patronage of Federico II Gonzaga—the Duke of Parma—who recognized his talent and commissioned ambitious projects that cemented his reputation as one of the era's foremost painters.
Anselmi’s artistic output in Parma is distinguished by a remarkable series of frescoes adorning sacred spaces—most notably the San Giovanni Evangelista cathedral, where he undertook extensive decoration encompassing the nave vaults and altar walls. His masterful depiction of saints and biblical narratives exemplifies the Mannerist preoccupation with conveying spiritual contemplation through stylized forms and evocative color palettes. Equally impressive was his altarpiece for the Duomo, a monumental undertaking that showcased Anselmi’s technical prowess and artistic vision.
Madonna with Saint Sebastian & Saint Roch (c. 1530): This iconic painting housed in the National Gallery at Parma exemplifies Anselmi's ability to fuse classical elegance with Mannerist dynamism. The composition—featuring Mary, Sebastian, and Roch—is imbued with a palpable sense of sorrow and piety, reflecting the stylistic conventions of the period.
Baptism of Christ (c. 1530): Located in Reggio Emilia, Anselmi’s Baptism of Christ is another testament to his artistic skill and compositional ingenuity. The fresco's narrative unfolds with meticulous detail, capturing the solemnity of the ritual and conveying a profound emotional resonance.
Frescoes for Santa Maria della Steccata (1541): Anselmi collaborated with Giulio Romano on the decoration of Santa Maria della Steccata’s apse—a project that reflects the stylistic dialogue between Parmigianino and Romano, showcasing Anselmi's contribution to Parma’s artistic heritage.
Anselmi’s artistic style is firmly rooted in Mannerism, characterized by a deliberate departure from the idealized proportions and harmonious compositions of earlier Renaissance art. He embraced elongated figures, exaggerated gestures, and flattened perspectives—techniques designed to heighten emotional impact and convey psychological complexity. Anselmi's palette favored rich hues and subtle gradations, creating luminous surfaces that captured the ethereal beauty of religious iconography. His meticulous attention to detail—evident in the drapery folds, facial expressions, and textural nuances—underscored his mastery of artistic craftmanship.
Michelangelo Anselmi’s oeuvre represents a crucial juncture between Renaissance idealism and Mannerist experimentation—a period marked by profound intellectual and aesthetic shifts. His frescoes in Parma continue to inspire admiration for their expressive power and stylistic sophistication, serving as enduring emblems of the High Renaissance's artistic legacy. Anselmi’s work stands as a testament to the transformative influence of Mannerism on Italian painting, securing his place among the most celebrated artists of his era and ensuring that his contribution to Parma’s cultural heritage would endure for centuries to come.
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Apollo and Marsyas — Michelangelo Anselmi
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