Great book. It made me read more books about painting and sculpture. ( )

I remember reading this during the lulls at the late-night pizza place i worked during college and people joking that i was reading pornography. I have mellowed somewhat in my infactuation with historical novels (used to love Michener), i think in some ways i might actually prefer the real history (if it is written well--there is a phrase being tossed about now: 'non-fiction that reads like fiction') but i can still appreciate a good historical novel and i remember that i enjoyed this one (though i also remember that i didn't fly through it.) I think that most of what i think i know of the life of Michalangelo from this book and it's hard to know where biography ends and fiction begins. ( )

I read this one for my book club and was amazed at the varied responses. I absolutely loved it. The history, the descriptions of Michaelangelo's creative process, the story of his life and struggles. At over 750 pages it wasn't an easy read, but I enjoyed every page. ( )

Since we were planning a trip to Tuscany, it seemed logical to read Irving Stone’s “The Agony and the Ecstasy.” It’s a long book (over 700 pages) and I can’t say it was hard to put down. To be fair, it is an extremely well-researched book. Stone spent years living in Italy studying Michelangelo’s life. He had the artist’s letters, records, and contracts translated into English and reportedly apprenticed himself to a sculptor to try and understand the practical aspects of the art. I don’t know much about history, and the book taught me a lot about Renaissance Italy including the artistic and intellecutal influence of the Medici family in Florence and the indulgent and warring exploits of the political popes of the time. Probably the most enjoyable part of reading the book was looking at color pictures of works like the Sistine chapel frescoes, the statue of David, the Pièta, and Moses in art books while simultaneously reading the sections of Stone’s book that describe in great detail the creation of these works. One minor part of the story I found interesting was the episode in which Michelangelo made a disparaging remark to another apprentice named Torrigiani. Torrigiani punched Michelangelo, shattering his nose and resulting in the permanent disfigurement that is seen in portraits of Michelangelo. As a consequence, Torrigiani fled Florence and spent a good part of his career in Rome. Some other aspects of the book were a little annoying. For example, Stone decided to bring a little romance into Michelangelo’s life by creating a chaste little adolescent romance between the Contessina (Lorenzo de Medici’s youngest daughter) and Michelangelo as well as an on-and-off again sexual relationship between the artist and Clarissa (mistress of a Bolognese nobleman). According to Paul Grendler (“The European Renaissance in American Life”), there is no factual basis for either of these events. In fact, there has been considerable speculation about the sexual orientation of the solitary Michelangelo, especially considering his fascination with the male physical form and his relative lack of interest in female anatomy. Stone does acknowledge the close relationship of Michelangelo with Tommasso Cavalieri in Rome. The bottom line is no one really knows about Michelangelo’s sexual orientation and it doesn’t really matter. Although he refers to Michelangelo’s “terribilitá” (terrifying awesomeness) several times, Stone tends to downplay Michelangelo’s moody, miserly, misanthropic temperament. Ultimately, this is a very enlightening book about the life of one of the greatest art geniuses of all time. ( )

This was a long-overdue read. I had expressed my disappointment with The Birth of Venus (http://francine.livejournal.com/8451....), and this book was suggested as a more dense, historical biography of Michelangelo. I was a bit skeptical - the back of The Agony and the Ecstasy reads "...His loves - the frail and lovely daughter of Lorenzo de'Medici; the ardent mistress of marco..." and so forth. The Birth of Venus focused more on a fictional love affair than the art. I was worried that this book would do the same.

I didn't need to worry. The person that wrote the blurb on the back of the book should be fired. It is an extremely well-crafted, intriguing, and exhilirating read. It had the one important thing I love in a historical novel: it was more historical than novel. The Renaissance was a time of more than just artistic explosion: it was a time of vast political overturnings and philosophical breakthroughs. Michelangelo seemed a man outside of his time, and time slowly caught up with him. His extremely long life (89 years!) provided him with a rare opportunity - to be a legend in his own time and to be producing works up until his deathbed.

The book starts with him going to a studio with his friend at the age of twelve: "This is my friend Michelangelo, Signore. Remember, I told you about him?" and ends with the guarentee that if he does not live to see his greatest work realized - the dome of St. Peters - that it will be carried out posthumously, faithful to his design. His immortality was secured.

What a wonderful book! ( )

Stone spent several years researching this epic novelization of the 90 year life of Michelangelo. He lived in Florence and Rome, had all of Michelangelo's letters and papers translated into English, worked in archives and libraries, and spent time with stonecutters, sculptors, painters and architects. While this probably gave his book more historical accuracy than a less intensively researched effort, he seemed to be compelled to fit every tidbit of his acquired knowledge into this book. This results in long lists of the architectural wonders of Florence, who sculpted them, when they were built, and what they are north, south, east or west of. We also get long lists of names of artists, politicians and other movers and shakers in 15th century Italy, along with who their fathers were and a list of their greatest accomplishments. As you might imagine, this distracts a bit from the main plot of the novel.

The plot itself eventually slides into a pattern of hills and valleys where Michelangelo is either excitedly working on a giant art project (David! The Sistine Chapel!) or unable to work because he has made a nobleman mad with his brusque nature or the pope who was sponsoring him just died. The descriptions of his artistic intentions and the process of creating his master works were worth reading, and generally well-written (although there were several rather forced metaphors comparing sculpting to sex, and one very very limpid sex scene that compared sex to sculpting). Michelangelo, like almost all the characters in this novel, is somewhat of a one trick pony. Once his personality is established at the beginning of the book, it stays unchanged until the very end. Each character that Michelangelo comes into contact with can immediately be labeled as a bad guy or a good guy, and with the amount of heavy-handed foreshadowing in the book there are few surprises as things move forward. By far the most interesting characters in the book are the Medici family -- a dynasty whose fortunes are closely intertwined with the history of Italy and Michelangelo's career, and a historical subject I'd really like to read more about.

So, not a glowing recommendation, but certainly worthwhile if you are a fast reader with an interest in art history or Italian politics.

[full review here: http://spacebeer.blogspot.com/2008/08...] ( )

This book about Michelangelo's life just sucked me in and I couldn't put it down. ( )

Beautiful in its intensity, but crosses my too-much-detail threshold in a few places. ( )

A wonderful book, really helped me envision Michelangelo, his work and his life, better than any art history book I ever read in class. ( )

A comprehensive long novel of Michelangelos' life and work from age thirteen until his death which also captures much of the political climate of 16th century Florence and Rome. The life of an artist is surely not all it's cracked up to be -- poor Michelangelo was browbeaten and emotionally hijacked at every turn -- constantly tossed about from Pope to politician, when all he really wanted to do was chisel some damn marble in peace.

I thought Irving did a great job of making the reader empathize with the maestro. I have heard him labelled a manic-depressive, a lunatic, homosexual -- in the novel we become the artist. As far as the reader is concerned there is absolutely nothing wrong with chipping away at a stone all night forgoing all food, drink, sleep. Marriage? Friends? Money? Bah! couldn't be bothered -- just want to have a go at this here column.

I really came away from this novel educated about Renaissance Florence, the Medici's, Rome under the Popes, in addition to Michaelangelo. It also made me think quite a bit about the interconnectiveness of paganism and Catholicism -- I am now more than ever looking forward to my upcoming Italy trip -- I can't wait to actually see the art.

Unfortunately, I did find the story to be a little dull at times, rather dry -- alot of names of political figures, apprentices, other artists that meant nothing to me making my eyes glaze over. While appreciative of Irving's research and detail the book just felt too long. Enjoyable on the whole but if I have to be honest, I was glad when it ended. Basta! ( )

I was recommended this book a while ago by a family member and boy, am I glad that I read it! While reading a biography might come across as a boring read, this book completely proved me wrong. It's a beautiful story filled with the facts and tied together with wonderful language, and all together these elements drag the read in and fall in love with the life of Michelangelo. From dealing with his father, to learning sculpture, to creating some of the greatest works of art in history, all the way to the very end this story will captivate and enthrall. Irving Stone does a brilliant job sticking as closely to Michelangelo's life as he can, and through his words makes Michelangelo come alive for the reader.

This book fits in well with our English unit of Search For Self. From the very beginning, Michelangelo knows what he wants to do in life is to create with art, but most importantly, with sculpture. He learns though the book and refines on his theories of how art pertains to his life and his soul. Michelangelo feels that if God can create a prophet for the purpose of prophecies, then why not a sculptor for the purpose of capturing the greatness of all human form? When he sculpts, Michelangelo is at one with his marble, at one with God, and connecting with his Self. He struggles with the challenges life faces, his goal being once he finishes a new carving, to move on and make another one. His inspiration and determination to create and be at one with his Self is always his guiding hand, and it's very moving for the reader to see one of such strong character. Michelangelo, in my opinion, is a lot like Santiago from the Alchemist, because Santiago also knew what he wanted out of life, found it, and became at one with it. This is a lot like what Michelangelo did in this book too.

My recommendation? Everyone should read it! This book is highly moving, motivating, inspiring, insightful and beautifully written. Who could ask for anything more from a novel? ( )

Full review: ( http://bachlab.balbach.net/coolread4.... ) in summary: excellent window to better understand the Italian Renaissance but not entirely accurate, strongest in details of sculpting.

See also Irving Stone's 1962 book "I, Michelangelo, Sculptor" ( http://www.archive.org/details/IMiche... ) ( )

QUOTES from
The Agony and the Ecstasy by Irving Stone (biographical novel of Michelangelo)

“But all honest effort to re-create that which God created originally…”
“…is a form of worship?”
“Has in it a love of God’s universe. Else why would the artist bother?”
p.54

To try to understand another human being, to grapple for his ultimate depths, that is the most dangerous of human endeavors.
p. 78

She turned from the intensity in his voice.
“Your work, it goes well?”
“Non, c’e male.”
“You’re not very communicative.”
“I do not aspire to be a talker.”
“Then you should mask your eyes.”
“What do they say?”
“Things that please me.”
“Then tell me. I carry no mirror.”
p. 96

The exquisitely balanced Donatello Christ said to him:
“This is how God wanted it to be, exactly the way it was planned. It is not hard to accept one’s fate when it has been preordained. I have anticipated this pain.”
This was not acceptable to Michelangelo’s temperament.
What had the violent end to do with God’s message of love? Why did He permit violence to take place, when its very form would create hatred, fear, retribution and continuing violence? His impotence to stop this barbarism was a terrifying thought to Michelangelo…and perhaps to Christ as well.
…patting affectionately the carved stones of the buildings as he went by, he thought:
“What went through the mind of Christ between the sunset hour when the Roman soldier drove the first nail through his flesh, and the hour when he died? For these thoughts would determine not only how he accepted his fate, but also the position of his body on the cross. Donatello’s Christ accepted in serenity, and thought nothing. Brunelleschi’s Christ was so ethereal that he died at the first touch of the nail, and had no time to think.”
He returned to his workbench, began exploring his mind with charcoal and ink. On Christ’s face appeared the expression, “I am in agony, not from the iron nails, but from the rust of doubt.” He could not bring himself to convey Christ’s divinity by anything so obvious as a halo; it had to be portrayed through an inner force, strong enough to conquer his misgivings at this hour of severest trial.
It was inevitable that his Christ would be closer to man than to God. He did not know that he was to be crucified. He neither wanted it nor liked it. And as a result his body was twisted in conflict, torn, like all men, by inner questioning.
When he was ready to begin carving he had before him a new concept: he turned Christ’s head and knees in opposite directions, establishing through this contrapuntal design a graphic tension, the intense physical and spiritual inner conflict of a man who is being pulled two ways.
p.222

“You’ve built this Bacchus the way we build a temple or a palace. It was a dangerous, and courageous, experiment in construction. You could easily have suffered a collapse of material. This fellow will stand erect as long as there is space for him to displace.”
p. 332

The Pope had not done right by him, either in Rome or here in Bologna, but that did not free him from doing right by himself. He would finish this giant bronze so that it brought honor on himself and the Buonarroti name; if it earned him neither the happiness the Pope had promised nor the creative ecstasy that came from carving marble, that was of secondary importance. He was a victim of his own integrity, which forced him to do his best, even when he would have preferred to do nothing at all.
p. 483

Pope Julius was pleased. He rose, walked around the model several times, commenting on its accuracy and lifelike qualities. Then he stopped in front of the statue, looking perplexedly at his right hand, which was raised in a haughty, almost violent gesture.
“Buonarroti, does this hand tend to bless or curse?”
Michelangelo had to improvise, for this was the Pope’s favorite gesture while sitting on his throne ruling the Christian world.
“The right hand lifted, Holy Father, bids the Bolognese be obedient even though you are in Rome.”
“And the left hand. What shall it hold?”
“A book?” asked Michelangelo.
“A book?” cried the Pope scornfully. “A sword! I am no scholar. A sword!”
Michelangelo winced.
p. 485 ( )

Good book. A bit long. But I do love reading about artists... ( )

"St Peters...He entered the church through it's front portal, walked in the strong Roman sunshine down the wide nave, stood below the center of the dome, just over the tomb of St Peter. He felt his soul leave his body, rise upward into the dome, becoming part of it: part of speace, of time, of heaven and of God"

Gorgeous! A peek into the soul of a brilliant artist.

An amazing insight into the life of Michaelangelo. It is an especially good book to read if you are heading to Italy anytime soon. ( )

Whether this book is historically accurate I do not know, but it beautifully dramatizes a brilliant artist's struggle to create and the society that alternately empowered and hampered him. Reading this book before visiting Florence and Rome made my trip so much more meaningful. Armed with Stone's stories of creation, I sought out Michaelangelo's more obscure works in hidden chapels and tiny museums. In the process, I visited so many places that I'd otherwise never have seen. ( )

I recall reading this book at the age of fifteen or sixteen and totally being engrossed in the life of Michelangelo - his triumphs, his troubled emotions, his fights with the then Pope and the wonderful description of his attempts and utter success in painting the Sistine Chapel which I visited in 1996. I was in awe of the ceiling - it was meant to be that way. I met Irving Stone when I was seventeen at a function at the Beverly Hills Hotel - Polo Lounge - my first visit and was again in awe of any writer but a writer of such great talent. ( )

The writing style got so tedious--the history was intriguing, but not enough to overcome the bad writing and I couldn't quite finish this one. ( )

Interesting. Packed with much historical and biographical informion, but slow reading. Not a quick or light read, but worth the time and effort.

This is a wonderful book, a fictionalized biography of Renaissance artist Michelangelo. It's well-written, and the events in Michelangelo's life are fascinating. I bought this copy while I was in Italy, and began reading it there. It was wonderful to read the story while having the actual historical places in mind - the Sistine Chapel ceiling, the Piazza Signoria. I enjoyed this book very much. ( )

powerful, and powerfully long. Michelangelo is so much cooler than that Da Vinci a-hole any day of the week. He painted the freaking sistine chapel all by himself, for years, all day long, upside down on the ceiling, with paint falling into his eyes and mouth. he's one intense mofo. and he did it all for GOD.

“All the rest, the entire reach of the vault, he painted himself: every figure, every robe, every face, every limb of every nude, every expression, emotion, every putto, every child behind the Prophets and Sibyls, the exquisitely beautiful Sibyls, the powerful and glorious Hebrew Prophets, every last touch he did himself: a gigantic lifetime of labor jammed into three apocalyptic years.” ( )

http://www.susanhatedliterature.net/t... ( )