- AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT MOVIE
- AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT FULL
- AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT SERIES
- AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT FREE
When a price is negotiated, Julius always stipulates that rent will be deducted from payment (rent for housing the Pope provides). Whenever Michelangelo raises the issue of money, the Pope says he shouldn’t discuss such things in the presence of the pontiff. Julius wanted the chapel to have a tableau of the Apostles and Michelangelo wants to paint… something else. They fight over what project to work on (the artist wants to continue working on Julius’ tomb when Julius asks him to paint the Sistine Chapel. If it were, my servants would fight… My kingdom is not of this world.” Julius II is all about the fighting. Jesus said, “ My kingdom is not of this world. It makes me think Julius II wasn’t wearing a WWJD bracelet. This identity for the Pope is a problem for me. The war eventually became the Papal State with Venice battling France (with various European nations pitching in between 15.)
AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT FULL
One of the first things we hear about him is that he’s “more of a warrior than a Pope.” We first see him in a full suit of armor (literal armor, not the full armor of God of Ephesians 5.) The film takes place during the War of the League of Cambrai, which began with the Papal State joining France to war against the Republic of Venice. But to the point: what kind of clergyman was this Pope Julius II?
AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT MOVIE
Of course, here at Movie Churches, we're here to evaluate clergy and churches, not art, but we can't help bringing art up for this movie. According to the film, Michelangelo didn’t want to do the work, partly because he considered himself a sculptor rather than a painter, but the Pope badgered him to do the work throughout the project. Still, the story (adapted from Irving Stone’s novel) of the film is about the battle between two large personalities. People want the story of Mikey, not Julie, though both are played by big stars ( Rex Harrison plays Julius II and Charleton Heston as Michelangelo). Julie really isn’t the big draw for this film, which tells the story of Michelangelo’s painting the ceiling of the Sistine Chapel. We're kicking off Pope Month with Julius II, a pontiff from history, in director Carol Reed’s 1965 spectacular, The Agony and the Ecstasy.
AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT FREE
After all, I couldn’t find a single film about the President of the Evangelical Free Church of America (not even a documentary.)
This is rarely true for any other religious or denominational leader, and that’s why we’re going to take a whole month to look at films that feature the Pope and the power center of the city/state of the Vatican. Whether he wants to be or not, the Pope is a power player in the political world and popular media.
Gee, thanks Alexa, but that’s not really the point here.) Whereas most every person who pays attention to media of any kind, even if that person has never set foot in a Catholic Church, knows the name of the Pope. Okay thanks, Google.) I currently attend a Presbyterian Church ( P.C.U.S.A.) and have never given thought about who is the denomination’s president. Only Michelangelo, and a few other geniuses, could create the kind of magnificent art that Julius demanded only Julius had the money and the patience to let Michelangelo create his masterpieces.I was ordained in the Evangelical Free Church, and I’ve got to admit I have no idea of the name of the current president of the denomination. The two men needed each other as much as they frustrated each other. (Michelangelo's relationship with another great Tuscan, Leonardo Da Vinci, was even worse, for similar reasons.)Īfter near-endless arguments, Michelangelo was paid 10,000 ducats to design and carve statues for Julius' tomb, including the famous Moses. But even the fierce old soldier had to admit that Michelangelo was "un uomo terribile" - a terrible man, meaning fearsome, proud, and hard to get along with. Julius, called the Warrior Pope for leading troops in war, had firm ideas about what he wanted from the artists he hired (via Britannica).
AGONY AND ECSTASY MICHELANGELO NOT WANTING TO PAINT SERIES
Art historian Kenneth Clark put it neatly in his famous BBC series "Civilisation" (posted on YouTube): "Heroes do not easily tolerate the company of other heroes."īoth men were larger than life.
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