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001			77857
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040			_aUtSlPG
041		7	_ahu _2iso639-1
050		4	_aN
100	1		_aRolland, Romain, _d1866-1944
245	1	0	_aMichelangelo élete
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2026
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2026-02-03
508			_aAlbert László from page images generously made available by the Hungarian Electronic Library
520			_a"Michelangelo élete" by Romain Rolland is a literary biography written in the early 20th century. It presents Michelangelo as a towering Renaissance genius whose creative might was shadowed by inner torment, religious melancholy, and relentless labor. Blending art history with psychological insight, it follows his works, patrons, and battles of will amid the charged worlds of Florence and papal Rome. The opening of the book frames Michelangelo through his “Victory” statue as a symbol of heroic doubt and a life defeated by its own triumphs, then sets a broad theme of suffering, Christian pessimism, and the courage to face reality without idealizing it. Rolland portrays a Florentine citizen shaped by the city’s fervor, fiercely proud of lineage, harsh toward himself, and driven by a compulsive need to work despite self-imposed poverty, illness, and suspicion. He stresses Michelangelo’s solitude, wavering will, fear-fueled flights, deference to princes, and shame, even a longing for death, before sketching a vivid physical portrait. The narrative then moves into “The Struggle”: childhood and beatings, apprenticeship to Ghirlandaio, Lorenzo de’ Medici’s sculpture garden and classical influence, the Battle of the Centaurs relief, and Torrigiano’s blow that broke his nose; Savonarola’s terror and a first flight; pagan Roman works set against the Pietà. Back in Florence come the David and its fraught placement, the rivalry with Leonardo and the lost battle cartoons, then Julius II’s summons, the vast tomb project, Bramante’s intrigues, flight and uneasy reconciliation, and the ill-fated bronze of Julius in Bologna. Finally, the Sistine commission arrives: Michelangelo dismisses helpers, labors alone in pain under family demands and papal pressure, unveils the ceiling, and the section closes by noting the physical toll and his wry verse about the contortions of fresco work. (This is an automatically generated summary.)
534			_pOriginally published: _cBudapest: Révai, 1920
653			_aMichelangelo Buonarroti, 1475-1564
700	1		_aÉber, László, _d1871-1935
856	4	0	_uhttps://www.gutenberg.org/ebooks/77857
999			_c118577 _d118577