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The Shocking Secrets of Michelangelo's Sistine Chapel Artwork The recent cleaning of the Sistine Chapel frescoes removed layer after layer of centuries of accumulated tarnish and darkness. The Sistine Secrets endeavors to remove the centuries of prejudice, censorship, and ignorance that blind us to the truth about one of the world's most famous and beloved art treasures. Some images that appeared in the print edition of this book are unavailable in the electronic edition due to rights reasons.
Michelangelo used images of human anatomy throughout his work. Nearly the entire body is there, albeit in pieces. Michelangelo began his career with extensive dissections of human corpses and ended his career talking about illustrating an anatomy book. He was hinting, as the anatomy was already there in his art. Perhaps at the time he made the art, he worried that it was too dangerous for his own person to reveal the secular anatomy theme. At the time, Renaissance scholars were studying human anatomy and trying to work out how the organs functioned. Many of them, like Leonardo da Vinci and Vesalius, self-published using their art. Herein are some of Michelangelo’s “self-published” contributions, human anatomy in his art and self-portraits, in the Sistine Chapel, paintings, and sculpture.
It's an irresistible combination: Brad Meltzer, a born storyteller, counting down the world's most intriguing unsolved mysteries. And to make this richly illustrated book even richer, each chapter invites the reader along for an interactive experience through the addition of facsimile documents—the evidence! It's a treasure trove for conspiracy buffs, a Griffin and Sabine for history lovers. Adapted from Decoded, Meltzer’s hit show on the HISTORY network, History Decoded explores fascinating, unexplained questions. Is Fort Knox empty? Why was Hitler so intent on capturing the Roman “Spear of Destiny”? What’s the government hiding in Area 51? Where did the Confederacy’s $19 million in gold and silver go at the end of the Civil War? And did Lee Harvey Oswald really act alone? Meltzer sifts through the evidence; weighs competing theories; separates what we know to be true with what’s still—and perhaps forever—unproved or unprovable; and in the end, decodes the mystery, arriving at the most likely solution. Along the way we meet Freemasons, Rosicrucians, Nazi propagandists, and the real DB Cooper. A riveting adventure through the compelling world of mysteries and conspiracies.
The focus of this volume is on essential themes, images and generic patterns, beginning with a Talmudic legend about four scholars. They, by means of daring mystical interpretations of Scripture, entered a Paradise, representing different means of imaginative reading, perception, memory and application of the law. One of them died, one went mad, another became a heretic and the other came back as a traditional exegete and teacher. Based on that legend, this book examines a small group of late 19th and early 20th century European Jewish intellectuals and artists in the light of their dreams, writings, and moments of crisis. These men and women, comedians in both the sense of stage actors and clowns or witty performers, believed they had entered a new secular and tolerant society, but discovered that there was no escape from their Jewish heritage and way of seeing the world. This monograph looks into the imperfect mirror of cultural experience, discovers a hazy world of illusions, dreams and nightmares on the other side of the looking glass, and sometimes constructs a midrashic conceit of the comical and grotesque screen between them.
By studying the application of fascial anatomy to yoga the yoga teacher will be able to expand each individual yoga student's optimum adaptability and mobility. This new contextual presentation of applied anatomy will provide the teacher with the tools to promote freedom and confidence in every student of yoga. By using insights from scientific research presented through case studies, the tendency to overwork the tissue and decrease vulnerability to soft tissue injury in the long-term, can be lowered. The visual design and presentation through metaphor embody the difference between sitting statically at a desk reading about movements and parts - and moving through the environment being animated, in action. Between these two experiences is a divide that this book seeks to cross.
Michelangelo in the New Millennium addresses the mobility and flexibility of Michelangelo’s art regarding placement and intention, considers the artist’s late papal painting commissions, and probes deeper into his early religious works.
Hope, Not Fear shares the wisdom we all need to come to terms with death. .

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