Anatomy in Michelangelo Art / 계명의대학술지

Michelangelo was a Renaissance artist showing many works. As the secrets of Michelangelo's art have been revealed recently, various studies have been carried out, revealing the secret code of human anatomy in his work. This was an important clue that Michelangelo dissected a huge number of human beings and was a anatomist with considerable expertise. Brazilian doctors Jalousie Bahaetto and Marcelo G Gli Oliveira, from the Vatican Sistina ceiling murals to the sculpture Pieta, examined the works of the Renaissance genius artist Michelangelo in detail and found anatomical elements in many works. Although some interpretations are controversial, it would be a good experience for medical doctor to appreciate masterpieces of Michelangelo in comparison to their human anatomy.

Michelangelo’s art on the Sistine Chapel ceiling: sacred representation or anatomy lessons?

The Renaissance was a period of extensive scientific and cultural production, which occurred between the fourteenth and sixteenth centuries. One of the exponents of this artistic period was the poet, architect, sculptor and painter Michelangelo Buonarroti, who was born and lived in Italy between 1475 and 1564. Among his best known artworks are the frescoes painted on the Sistine Chapel ceiling. Currently, there is discussion if the paintings are only representations made from the sacred guidance of the church at the time, or if there are other meanings hidden in the images. From this context, we analyzed studies that associated the frescoes painted on the Sistine Chapel ceiling with anatomical structures hidden in the images, taking into account their significance, importance, and if these structures are not simply an imaginative interpretation of the researchers. This study was performed aiming to complement the work published by Ellwanger, Mohr and Campos (2012) in this journal.

Anatomy lessons in the Michelangelo' s works?

Michelangelo Bounarroti born in Italy and lived between 1475 and 1564. He had a vast knowledge inanatomy and it is confirmed by the perfection in which human  is represented in his works. This fact drawsthe attention of scholars from a variety of areas concerning the study of human body to be interested in his artworks. We discuss the possible presence of the representation of anatomical structures included in the worksof Michelangelo presented by several authors.

Edward Hopper e a imagem cinematográfica / Edward Hopper and the cinematographic image

Neste artigo, o autor se propõe a expor e analisar a relação de mútua influência entre a obra do pintor norte-americano Edward Hopper e o cinema. A transposição de seus temas e elementos estilísticos para certos filmes é discutida, assim como o papel de sua pintura na fixação de uma iconografia da realidade norte-americana reproduzida pelo cinema. Uma comparação mais detida é estabelecida entre elementos da pintura de Hopper e do cinema de Wim Wenders e Michelangelo Antonioni. Por fim, discute-se no artigo a pertinência da classificação de Edward Hopper como um pintor realista, pondo em evidência as implicações de uma afirmação desse tipo, bem como considerações sobre o realismo no cinema e a manifestação de elementos psicológicos nos quadros de Hopper.

In this article, the author sets out to expose and analyze the relationship of mutual influence between the work of American painter Edward Hopper and film. The transposition of his themes and stylistic elements to some movies is discussed, as well as the role of his painting in the setting of an iconography of American reality also reproduced by cinema. A more detailed comparison is made between elements of the work of Hopper and that of filmmakers Wim Wenders and Michelangelo Antonioni. Finally, the article discusses the relevance of the classification of Edward Hopper as a realist painter, highlighting the implications of such a statement as well as considerations about realism in the cinema and the emergence of psychological elements in the paintings of Hopper.