Città: FABRIANO Titolo: Fabriano, chiesa di San Niccolo'. Il "San Michele Arcangelo" del Guercino. Opera presentata alla mostra di Mestre dal titolo "La potenza del bene. San Michele arcangelo nella grande arte italiana", al Centro Candiani, dal 29 Settembre 2008 al al 6 gennaio 2009. Sono state esposte al visitatore opere di altissimo livello, da Giuseppe e Bernardino da Asola, Bonifacio de’ Pitati, Jacopo Tintoretto, Lorenzo Lotto, a Molinari e Brusasorci.... 
L'arcangelo Michele uccide il drago (Borgogna, XII secolo).
In this medieval bas-relief can be traced geometries and symmetries significant. It affects primarily the triangular shape of the composition, the solid basis of the monster's body, still held firmly and property from the toes of the saint, the diagonal of the auction, who run from top to bottom, is one of the two equal sides of an isosceles triangle, whose other hand is formed by the leg and torso of the saint, in the act thesis decided to finally stop the dragon, the angel's head, which, although slightly bent, represents the apex of this triangle , and with an eye toward the head of the monster, as well as underlining the top-base ratio, down, in agreement with the spirit of the medieval time and sensitivity, a symbolic link between high and low, heaven and earth. If we compare this San Michele, for example, that of Piero della Francesca, to immediately grasp the difference: here the Archangel descends to earth to defeat evil, but there is still connected with the celestial world, so that the fingers of his feet immobilizing the dragon in the beads lose perspective planes are not visible but suggested almost as if they were invisible to the human eye into areas of metaphysics. The Michele di Piero is well flesh: man here on Earth aware of his strength and prorprio destiny: conquer evil!
"Guido Reni, St. Michael the Archangel, 1635, Rome, Church of the Capuchins. The work, the artist commissioned by the brother of Pope Urban III, Antonio Marcello Barberini, Cardinal with the title of S. Onofrio (source, Malvasia), was certainly completed before 1636, because there is an incision with a prior history.
The painting is often cited by sources and greatly appreciated by the critics of the eighteenth century as the official emblem of the "ideal beauty .
The painting is often cited by sources and greatly appreciated by the critics of the eighteenth century as the official emblem of the "ideal beauty .
Guido Reni he wrote in a letter to the steward of the pope: "I wish I had had a brush angel, or some form of heaven to form the Archangel, or see him in heaven, but I could not climb so high, and I searched in vain for the land. So I looked in that form, the idea that I established. "
The beautiful face, and delicate features framed by blonde curls, a figure in quick, rapid, decisive, whose movement is clear both in the drapery of her dress and cloak that the wide wingspan, is undoubtedly an expression of the world ideale.Le anatomical shapes, made even visible from the twisting of the body and the position of the legs and arms that win the enemy forces, give power to the tangible manifestation of the idea of \u200b\u200bvictory over evil. The sword raised and ready to strike raises the strength of its diagonal movement diretto con determinazione ad annichilire l'avversario.
The beautiful face, and delicate features framed by blonde curls, a figure in quick, rapid, decisive, whose movement is clear both in the drapery of her dress and cloak that the wide wingspan, is undoubtedly an expression of the world ideale.Le anatomical shapes, made even visible from the twisting of the body and the position of the legs and arms that win the enemy forces, give power to the tangible manifestation of the idea of \u200b\u200bvictory over evil. The sword raised and ready to strike raises the strength of its diagonal movement diretto con determinazione ad annichilire l'avversario.
" Le due tavole con Sant'Antonio Abate e San Michele Arcangelo sono opere di Filippo Lippi, dipinte a tempera,risalenti al 1456-1458 e conservate nel Cleveland Museum of Art di Cleveland (Ohio).Si tratta delle ante laterali di un perduto trittico commissionato da Cosimo de' Medici nel 1456." Il volto dell'Arcangelo, un volto da giovinetto, è assorto in un'espressione quasi di "meditazione antecedente la lotta" e le armi di offesa (la lancia ) e di difesa ( lo scudo) sono pronte. Lo scudo, bellissimo, con quella sua luce che gli deriva dal bianco e dà risalto al rosso della croce, shining in contrast to the near blue belt of her dress, seems to express the sanctity and the splendor of the same micheliana, his struggle with evil at the same time herald the undoubted vittoria.Magnifica the position of the sword, in line with the temple, refers to the act of struggle and thought that a plane parallel to the shield, makes it clear that the fight against the "enemy" must necessarily correspond with equally thoughtful gesture of self defense.
" St. Michael and the Dragon" is an oil painting on wood by Raphael Sanzio. E 'kept in the Louvre in Paris. Oil on canvas executed in 1505, 31 x 27 cm.
perfect balance of ideal forms and vigor that is expressed in the physical world: the idea is realized in the action. A face that perfectly combines the features of precision and power of expression: the beautiful cross formed from the line of the nose that ripples in a volitional movement already at the edge of the lower face with the eyebrows that emphasizes and protects the eyes focused on the action! And once again, here too the shield is white and marked by its convexity geometry of the cross axial symmetric in correspondence with the concavity of the wings. The figure is based on a vertical axis that culminates in the fist that holds the sword wielded against the infernal enemy. Agile and strong but elegant, the figure connects the three floors with its vertical parallel to each other, they have drawn the sword, the wings and the right leg raised in the momentum against the demonic monster the size of 'Archangel holds together in If the feeling, thinking and wanting the fight against male.Un 'other symmetry consists of two floors, which are also parallel to each other, dell'aureola and the spirit in which the monster holds the left knee of the Archangel: the two enemies face each other: the high spirituality against the lowest manifestation of evil, healthy thinking against the evil injury, creative thinking against the chilling petrified thought, purity of heart against the wickedness and selfishness, readiness for action against the slew of sluggish nulla.Qui in this painting, evil does not take the anthropomorphic form of a daemon as in the painting by Piero della Francesca, and other painters who have addressed this issue, does not put poisonous scales bearers of death as those of a snake or a dragon, but monstrous and manifests itself in many forms, reminiscent of the paintings of Bosch Dante's hell with those of the narrative representation of the figures of the damned at the bottom.
of Piero della Francesca, performed in mid quatttrocento, in the National Gallery in London, was part of the Altarpiece of St. Augustine for the church of Santa Chiara. A young man dressed as a Roman soldier, who holds a sword, with which he killed the snake at his feet. The pictorial space is simple, but built with perfect balance of geometric forms. The colors shine, especially the blue background. The attitude of the figure is solemn and composed, firm and determined expression, the plastic shapes, bright colors.
Like this immensely "humanity" of the Archangel, the force of inner certainty that the greatest humanists of the time, like Piero, were able to understand and express in their works very well!
Like this immensely "humanity" of the Archangel, the force of inner certainty that the greatest humanists of the time, like Piero, were able to understand and express in their works very well!
of Juan Espinal, the most important painter of Seville (1714 - 1783) of the second half of the 700 between the highest representatives of the "Rococo" English. El Arcangel San Miguel (Museo de Bellas Artes de Sevilla), is part of the group of 15 works on religious themes, considered the "flower" of his artistic production. The painting here meeting offers us a beautiful face from St. Michael, with his large dark eyes gaze seems quite melancholy but in fact aware of pain and evil, royal attitude, with his back slightly backward and the arm stretched forward and the hand resting on the hilt of the sword. Here the Archangel is not shown in the act of defeating the beast but it appears in all its majesty, announcing as sovereign over evil. Even in the structure of this painting, as with other examined here, we can detect a tripartite plans that connects us with the deeper meaning of the story: the slight backwards arc formed by the wings of the angel and the body of the figure, the vertical axis the same and the equally slight concavity of the shield with the forward thrust of the sword. The vertical axis of the figure represents the full force of the higher, the motion back to the spiritual origins of the 'hero', the forward la determinatezza del lottare e dello sconfiggere le forze del male. Come ben dice la professoressa Biancamaria Rizzoli: "...armato ma non combattente, si erge nella potenza della sua gloria. E tuttavia il fondo con nubi colorate e tempestose ha qualcosa di apocalittico e annuncia una catarsi di cui l'arcangelo sarà uno dei protagonisti.".
"San Michele sconfigge Satana" : è un dipinto ad olio su tela, realizzato nel 1518 da Raffaello. È conservato al Musée du Louvre di Parigi. L'opera, che è firmata e datata sull'orlo della veste di San Michele: "RAPHAEL URBINAS PINGEBAT MDXVIII" , fu commissionata a Raphael Pope Leo X, in homage to the French king Francis I. It is called the "Great San Michele" to distinguish it from the table on the same subject, also in the Louvre, but of much smaller size (31 cm x 26 cm), which was allegedly executed by Raphael around 1504, to be Guidobaldo Montefeltro, Duke of Urbino.
Saint Michael, painted by Beato Angelico .
gold background, blue robe studded with bright stars, as the tips of the wings still full of enthusiasm. The mantle of the human skin color, outlines the elegant neck supporting a head of blond, well-modeled as well as regular features of the face young but strong and conscious expression, then the figure came down accompanied by a mild and soft, floating down. Its light weight makes it move even more clearly the position of the Angel, whose figure is presented, with harmonious balance, still in space, with the attitude of those who his presence alone makes it already performs the action of which is for their own conscious choice, factor.
Burgundy XII century
St. Michael wins the devil (Gonzalo Pérez, XV century)
San Michele Arcangelo - XVII century church of S. Antonino in Pofi
The church of San Michele in Lucca was founded in 1070, but was never finished. The facade is higher than the rest of the church, as evidenced by the canopy that would illuminate the interior, but remained in effect ... a blank window. Positioned at the top of the spire There is a bronze statue of Saint Michael defeating the dragon flanked by two angels. It 'more than 3 meters high, dating from the thirteenth century and is attributed to Guidetto from Como. The left hand of the angel is adorned by a ring with a red stone, which at certain times of the day towards the square reflects the sunlight. A popular legend attributes to reflect ring the power to grant a wish. (Photos and comments of Professor Bianca Rizzoli).
Saint Michael, painted by Beato Angelico . gold background, blue robe studded with bright stars, as the tips of the wings still full of enthusiasm. The mantle of the human skin color, outlines the elegant neck supporting a head of blond, well-modeled as well as regular features of the face young but strong and conscious expression, then the figure came down accompanied by a mild and soft, floating down. Its light weight makes it move even more clearly the position of the Angel, whose figure is presented, with harmonious balance, still in space, with the attitude of those who his presence alone makes it already performs the action of which is for their own conscious choice, factor.
sword with his right hand tightly contested and held in a vertical position shows the force of "cosmic destiny", he wants the superiority of spirit over evil, victory and royal light on the clouds unhealthy ego conscious and confused bearers of death of the "dragon". The sword became scepter, is another symbol of royalty: the small ball held in your left hand. Slender and elegant, the figure of that in blue and the fabric of her dress reminds us of the stellar figure of the Virgin with her foot crushing the serpent's head, his blue cloak sprinkled with stars, combines the features common to 'agile composure religious iconography of the human figure when it expresses an inner firmly directed towards the healthy act. The same agility and composure of human thought, when it approaches the clarity of the decision.
Burgundy XII century 
St. Michael wins the devil (Gonzalo Pérez, XV century)
San Michele Arcangelo - XVII century church of S. Antonino in Pofi
The church of San Michele in Lucca was founded in 1070, but was never finished. The facade is higher than the rest of the church, as evidenced by the canopy that would illuminate the interior, but remained in effect ... a blank window. Positioned at the top of the spire There is a bronze statue of Saint Michael defeating the dragon flanked by two angels. It 'more than 3 meters high, dating from the thirteenth century and is attributed to Guidetto from Como. The left hand of the angel is adorned by a ring with a red stone, which at certain times of the day towards the square reflects the sunlight. A popular legend attributes to reflect ring the power to grant a wish. (Photos and comments of Professor Bianca Rizzoli).
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