Michelangelo’s Painting
Selected Essays
432 pages
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124 color plates, 122 halftones
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8 1/2 x 11
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© 2018
- Contents
- Review Quotes
Table of Contents

Contents
Preface and Acknowledgments, Sheila Schwartz
Introduction, Alexander Nagel
1. Disconnections: The Doni Madonna and Leonardo’s St. Anne
2. The Sistine Deluge
3. Who’s Who in the Creation of Adam
4. All about Eve
5. A New Michelangelo
6. Why Michelangelo Huddled Those Ancestors under That Ceiling
7. The Last Judgment as Merciful Heresy
8. A Corner of the Last Judgment
9. The Last Judgment and Environs
10. The Line of Fate in Michelangelo’s Painting
11. Michelangelo’s Last Paintings
Notes
Leo Steinberg: Chronology
Leo Steinberg: Publications (1947–2010)
Photography Credits
Index
Introduction, Alexander Nagel
1. Disconnections: The Doni Madonna and Leonardo’s St. Anne
2. The Sistine Deluge
3. Who’s Who in the Creation of Adam
4. All about Eve
5. A New Michelangelo
6. Why Michelangelo Huddled Those Ancestors under That Ceiling
7. The Last Judgment as Merciful Heresy
8. A Corner of the Last Judgment
9. The Last Judgment and Environs
10. The Line of Fate in Michelangelo’s Painting
11. Michelangelo’s Last Paintings
Notes
Leo Steinberg: Chronology
Leo Steinberg: Publications (1947–2010)
Photography Credits
Index
Review Quotes
Hyperallergic
"A Close, Dazzling Look at Michelangelo’s painting"
CHOICE
"This second volume of Steinberg's selected essays treats readers to the late scholar’s masterly prose and scholarship, this time focusing on Michelangelo’s paintings. Schwartz is an expert, and her editing of these 11 essays is judicious. . . . With excellent production values and nicely illustrated throughout, this book continues to whet one’s appetite for future volumes. . . . Highly recommended.
Storia della Critica d’Arte, Annuario della S.I.S.C.A.
"It is gratifying to see the text now supported by the sort of photographs it deserves. The editor Sheila Schwartz, Steinberg’s longtime assistant and now curator of his literary legacy, also augments the text with evidence that Steinberg continued to accumulate for the rest of his life. No less importantly, Schwartz’s collection, the second in a series of five planned volumes of Steinberg’s essays, enables one to see that Steinberg’s account of the Pauline Chapel was embedded in a larger and continuously shifting account of Michelangelo’s painting. . . . The flourishing scholarly interest in [Steinberg's] legacy starts from a conviction that he is a model worth following. Beyond the encomia that appeared after Steinberg’s death in 2011, his findings and method continue to be discussed by students of art, philosophy, and aesthetics."
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