What's "Hidden" here is something that most educated in art history already know about: Michelangelo's singularly focused egomania. But perhaps only we mortals think of it that way. M writes: "it is enough to have bread and live in poverty with Christ, as I do here, for I live frugally and care nothing for life or honour in this world. I have great problems and a thousand worries." Talk about your humble brag! But hey he's MICHELANGELO.
Salvini does a good job here placing all of M's works and the stores of their creation in a context of M's near-megalomania (all but trying to boss the pope around), which M seems to have really thought was always in the service of God (because he saw himself as having a unique personal channel to the Big Guy): a favourite little point made somewhere in the middle of the text concerns M's rejection of fellow Florentine Alberti's newly-minted rules of linear perspective, because what M cared about was not to reproduce this world, but to take a cosmic perspective. His common visual tropes bear this out: massive forms surrounded by active small flows in drapery, cloud, and beards. Beards, because he reserves all the active power in his works to males -- women are always demure or at the side, eyes lowered or fearful, even when representing, say, Wisdom (Creation of Man, Sistine Chapel) while the males ripple with muscle and intention and deep, often-accusatory looks.
Excellent pages, some edge and jacket wear.