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Dreaming of Michelangelo is the 1st book-length learn to discover the highbrow and cultural affinities among sleek Judaism and the existence and paintings of Michelangelo Buonarroti. It argues that Jewish intellectuals came across themselves within the picture of Michelangelo as an "unrequited lover" whose paintings expressed loneliness and a eager for humanity's reaction. the trendy Jewish mind's eye hence turned consciously idolatrous. Writers delivered to life—literally—Michelangelo's sculptures, seeing in them their very own worldly and emotional struggles. The Moses statue particularly turned an archetype of Jewish liberation politics in addition to a primary concentration of Jewish aesthetics. And such affinities prolonged past sculpture: Jewish viewers to the Sistine Chapel reinterpreted the ceiling as a manifesto of prophetic socialism, with out its Christian components. in accordance with Biemann, the phenomenon of Jewish self-recognition in Michelangelo's paintings provided a substitute for the failed gives you of the German enlightenment. via this unforeseen discovery, he rethinks German Jewish heritage and its connections to Italy, the Mediterranean, and the artwork of the Renaissance.

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Witold Gombrowicz, Diary: quantity One (1953–1956), trans. Lilian Vallee (Evanston, IL: Northwestern college Press, 1988), eighty one. 108. Georg Simmel, “Michelangelo als Dichter” (1889), in Gesamtausgabe, vol. 2, Aufsätze 1887 bis 1890, ed. Heinz-Jürgen Dahme (Frankfurt am major: Suhrkamp, 1989), 38, forty. it may be famous that Simmel was once educated for his doctoral minor (Nebenfach) in Renaissance literature by means of the real Michelangelo pupil Herman Grimm, taking his moment and 3rd doctoral assessments on Petrarch and Michelangelo, respectively. On Simmel’s educational occupation see Michael Landmann, “Bausteine zur Biographie,” in Buch des Dankes an Georg Simmel, ed. Kurt Gassen and Michael Landmann (Berlin: Duncker and Humblot, 1958), 15–18. For Simmel’s interpretation of Michelangelo, see additionally Hans Liebeschütz, Von Georg Simmel zu Franz Rosenzweig: Studien zum jüdischen Denken im deutschen Kulturbereich (Tübingen: J. C. B. Mohr, 1970), 131–36; Felicitas Dörr, Die Kunst als Gegenstand der Kulturanalyse im Werk Georg Simmels (Berlin: Duncker and Humblot, 1993), esp. 64–71. 109. Simmel, “Michelangelo,” 174. one hundred ten. Dante Alighieri, Paradiso 33. a hundred forty five, ed. Giuseppe Vandelli (Milan: Ulrico Hoepli, 1960), 924. whereas Simmel doesn't make connection with Dante, it truly is nonetheless noteworthy that he pondered an inaugural lecture “Über Dantes Psychologie” already in 1884. Cf. Michael Landmann, “Bausteine zur Biographie,” in Buch des Dankes an Georg Simmel, ed. Gassen and Landmann, 21. 111. Freud, Civilization and Its Discontents, 33. 112. Simmel, “Michelangelo,” 174; and Simmel, “Michelangelo als Dichter,” forty eight. 113. Simmel, “Michelangelo,” 178. 114. Cf. Thode, Michelangelo und das Ende der Renaissance, vol. 1, Das Genie und die Welt, 10; vol. three, Der Künstler und seine Werke (Berlin: G. Grote, 1912), 370: “Alle die Propheten und Sibyllen haben ihre Stellung im Gemäldezyklus doch nur in Rücksicht auf Christus, auf die Erlösung! [All the prophets and sibyls have just one goal in those work: to indicate towards Christ, towards redemption! ]. ” one hundred fifteen. Simmel, “Michelangelo,” 176. 116. Ludwig, Michelangelo, sixty five. 117. Cf. Friedrich Nietzsche, Nachgelassene Fragmente Herbst 1885 bis Herbst 1887 (KSA 12), 223; and Nietzsche, Nachgelassene Fragmente Herbst 1884 bis Herbst 1885 (KSA 11), 470–71. 118. Simmel, “Michelangelo,” 168. 119. Brandes, Michelangelo, 431. one hundred twenty. Cf. Heinrich Heine, “Die Bäder von Lucca,” Reisebilder, Dritter Teil: Italien, 1828, in Sämtliche Schriften (Munich: Carl Hanser, 1962), 2: 427–29. 121. Ibid. , 427. 122. Herz, Erinnerungen, 133. 123. Abraham Geiger, “Das Judentum unserer Zeit und die Bestrebungen in ihm,” Wissenschaftliche Zeitschrift für jüdische Theologie, 1, no. 1 (1835): five. 124. “Against the magic of Catholicism, between whose sufferers were many artists of brand over the last twenty years, there's just one treatment: the pointy, bare sword of vivid cause. ” Fanny Lewald, Italienisches Bilderbuch (1847; reprint, Berlin: Rütten and Loening, 1983), 166; additionally ibid. , a hundred sixty five: “Je größer nun für die phantasiereiche Seele deutscher Künstler und der Nordländer überhaupt der phantasieanregende Kultus, die ganze Mysterienwelt des Katholizismus ist, in einem Lande, in welchem schon die südliche Natur und die ganze Kunstwelt die Seele in außergewöhnliche Aufregung versetzen, um so nötiger wäre es, in Rom protestantische Geistliche von echt protestantischem Rationalismus als Gegengewicht zu haben [Given the level to which the fantasy-inspiring cult and the complete Catholic global of mysteries have captivated the creative soul of German artists and of northern males, who get terribly enthusiastic about the mere presence of southern nature and paintings, it'd be fascinating to convey to Rome Protestant ministers of actual Protestant rationalism].

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