The New Ignudi By Rocco Di Pietro Thinking of an aging Michelangleo, sorrily tried by misfortune, and disheartened as to the validity

of human endevor, what would he have thought to see his work after ‘the law’ of Moses became another mythology? And what would he have thought to see his work coupled with Robert Mapplethorpe’s in an exhibit, after redemption no longer mattered? At the Accademia in Florence what was left for the modern viewer standing under the David, in an almost Wagnerian awe surrounded by Mapplethorpe’s nudes? It was a new model based on the old model of ‘The Perfection of form’ and not merely that both loved men. 500 years later the shear subversive beauty of Michelangelo’s art was revealed at last.

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