Painted on the altar wall of the Sistine Chapel, 28 years after Michelangelo completed the glorious and hopeful ceiling, The Last Judgment is full of stark images depicting the End of Days. James Connor uses the famous fresco as the lens by which to view the end of the Renaissance, arguing that Michelangelo's imagery and composition reflect the religious and political upheavals of the time.
Combining his flair for storytelling with incisive historical analysis, Connor demonstrates how the Counter-Reformation arose from the ashes of Renaissance Italy, and how that sea change altered the course of Western history.
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Michelangelo did not want to create the Last Judgment (1537–1541), yet, argues Connor (Pascal's Wager ), it was his clearest expression of the “terror at the bottom of his psyche,” a terror stemming largely from the conflict between his probable homosexual desires and his religious faith.May 11 2009 | Read Full Review of The Last Judgment: Michelange...
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