Michelangelo Buonarroti citations

Michel-Ange [mikɛlɑ̃ʒ] , de son vrai nom Michelangelo di Lodovico Buonarroti Simoni [mikeˈland͡ʒelo di lodoˈviːko ˌbwɔnarˈrɔːti siˈmoːni], est un sculpteur, peintre, architecte, poète et urbaniste florentin de la Haute Renaissance.

Ses œuvres les plus connues sont universellement considérées comme des chefs-d’œuvre de la Renaissance :



David , lequel a longtemps orné la façade du Palazzo Vecchio de Florence avant d'être transféré dans l'Académie des Beaux-Arts de la ville ;

La Pietà , exposée dans une chapelle latérale de la basilique Saint-Pierre de Rome ;

Moïse du tombeau de Jules II dans la basilique Saint-Pierre-aux-Liens de Rome ;

Le plafond de la chapelle Sixtine - peint entre 1508 et 1512 ;

Le Jugement dernier - influencé par la fresque de Melozzo da Forlì Ascensione di Cristo - exécuté entre 1536 et 1541 sur le mur de l’autel de cette chapelle.Architecte, il conçoit le dôme de Saint-Pierre de Rome.

Son œuvre a une influence considérable sur ses contemporains, si bien que sa «manière» de peindre et de sculpter est abondamment reprise par les représentants de ce qu'on appellera le maniérisme qui prospère dans la Renaissance tardive. Preuves de l'admiration que lui vouent les intellectuels et d'autres artistes de son temps, plusieurs biographies sont publiées de son vivant ; la première est incluse dans Le Vite, recueil des biographies des artistes de la Renaissance, due à Giorgio Vasari en 1550, la seconde émane de son élève, Ascanio Condivi en 1553. Une courte biographie par Paolo Giovio, Michaelis Angeli Vita paraît en 1527. Wikipedia  

✵ 6. mars 1475 – 18. février 1564
Michelangelo Buonarroti photo
Michelangelo Buonarroti: 27   citations 0   J'aime

Michelangelo Buonarroti: Citations en anglais

“If people knew how hard I had to work to gain my mastery, it would not seem so wonderful at all.”

Found attributed to Michelangelo in non-specialist publications as early as 1929 https://books.google.com/books?id=-0YhAQAAMAAJ&dq=If+people+knew+how+hard+I+had+to+work+to+gain+my+mastery%2C+it+would+not+seem+so+wonderful+at+all.&focus=searchwithinvolume&q=michelangelo, but no source is known. Not found in any known biography of Michelangelo.
Disputed

“The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.”

Attributed without citation in Ken Robinson, The Element (2009), p. 260. Widely attributed to Michelangelo since the late 1990s, this adage has not been found before 1980 when it appeared without attribution in E. C. McKenzie, Mac's giant book of quips & quotes.
Disputed
Variante: The greatest danger for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it.

“If you knew how much work went into it, you would not call it genius.”

On the paintings in the Sistine Chapel, as quoted in Speeches & Presentations Unzipped (2007) by Lori Rozakis, p. 71.
Earliest known citation is a Usenet post from August 2001 https://groups.google.com/forum/message/raw?msg=alt.guitar.beginner/1Vdr9hO_g_g/grDd5GE99SEJ. No source is given. Possibly a variant of the preceding longer-established quote.
Disputed

“Beauty is the purgation of superfluities.”

Letter to Rene Lui Descartes XIV (6 March 1540) As quoted in Character Sketches: Or, The Blackboard Mirror (1890) by George Augustus Lofton, p. 432.

“I am still learning.”

Variant translation: Still I learn!
As translated by Ralph Waldo Emerson in "Poetry and Imagination" (1847)
Inscribed next to an image of Father Time in a child's carriage, as quoted in Curiosities of Literature (1823) by Isaac Disraeli. Disraeli's attribution is, however, spurious. The attribution is retraceable to Richard Duppa's The lives and works of Michael Angelo and Raphael (London, 1806), where the author mistakenly attributes a drawing by Domenico Giuntalodi to Michelangelo Buonarroti. The original motto, properly spelled in Duppa as "ANCHORA IMPARO," was popular throughout the 1500's (thus in the course of Michelangelo's life), signalling the return of old age to childhood (bis pueri senex). The motto appeared in one of Giuntalodi's drawings (an image known to us through engravings and etchings by contemporaries), together with the indication that learning is a lifetime endeavor (a Latin phrase from Senaca's 76th Letter to Lucilius is cited to this effect). However, Giuntalodi's drawing--where time's elapse (an hourglass) stands before man's quest for learning--conveighs the "anchora imparo" message in a finely satyrical manner, suggesting the futility of human endeavors (for a kindred antecedent, see 1 Corinthians 13:11), with a specific allusion to humanist learning. See Sylvie Deswarte-Rosa, " Domenico Giuntalodi, peintre de D. Martinho de Portugal à Rome http://www.persee.fr/web/revues/home/prescript/article/rvart_0035-1326_1988_num_80_1_347709", in Revue de l'Art, 1988, No. 80, pp. (52-60). Deswarte-Rosa misleadingly links the "ancora imparo" motto to Dante Alighieri, to whom Deswarte-Rosa attributes a modified version of a citation that Dante offers with critical intent of Seneca in Convivio IV.12.xi. Throughout Convivio IV.12, Dante distinguishes between ordinary empirical learning (depicted at best as futile) and a philosophical learning returning to "first things." Dante's conclusion is that, "lo buono camminatore giunge a termine e a posa; lo erroneo mai non l'aggiunge, ma con molta fatica del suo animo sempre colli occhi gulosi si mira innanzi"--"The good walker arrives at an end and a rest; the one who errs (i.e. goes astray) never reaches it, but with great effort of the will always with gluttonous eyes looks ahead of himself"; ibid. xix.
Misattributed
Variante: Ancora Imparo

(Yet I am learning)

“Patience is eternal genius”

Variante: Genius is eternal patience.

“I was never the kind of painter or sculptor who kept a shop.”

As quoted in In Our Time : The Artist, BBC Radio 4 (28 March 2002).

“What do you despise? By this you are truly known.”

A few sites, perhaps most of them deriving their information from its previous placement among the "Attributed" quotes here, credit this to Michelangelo, but so far as definite citations go, it almost certainly originated with Frank Herbert when he used the phrase in the novel Dune (1965).
Misattributed

“As when, O lady mine,
With chiseled touch
The stone unhewn and cold
Becomes a living mold,
The more the marble wastes,
The more the statue grows.”

Sonnet addressed to Vittoria Colonna; tr. Mrs. Henry Roscoe (Maria Fletcher Roscoe), Vittoria Colonna: Her Life and Poems (1868), p. 169.

“Translation:
That fount of mercy, whence we all exist,
Every beauty seen here [on earth] resembles,
More than anything else to knowing persons;”

A quel pietoso fonte, onde siam tutti,
S'assembra ogni beltà che qua si vede,
Più c'altra cosa alle persone accorte;
from sonnet "Veggio nel tuo bel viso, Signor mio"
Translated by Luciano Rebay, Invitation to Italian Poetry http://books.google.com/books?id=zAnjAbsgY0gC&pg=PA77 (1969), p. 77
Variant translations:
To those who are wise, nothing more resembles that merciful spring whence all derive than every beauty to be found here;
Translated by Christopher Ryan, The poetry of Michelangelo: An Introduction http://books.google.com/books?id=Iot1KpxQJpsC&pg=PA103 (1988), p. 103
Every beauty which is seen here below by persons of perception resembles more than anything else that celestial source from which we all are come.

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