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What's Love Got to Do with It (film)
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This article is about the film. For the 1993 album of the same name, see What's Love Got to Do with It (album). For the 1984 single of the same name, see What's Love Got to Do with It (song).
What's Love Got to Do with It
Theatrical release poster
Directed by
Brian Gibson
Produced by
Doug Chapin
Barry Krost
Screenplay by
Kate Lanier
Based on
I, Tina
by Tina Turner
Kurt Loder
Starring
Angela Bassett
Laurence Fishburne
Music by
Stanley Clarke
Production
company
Touchstone Pictures
Distributed by
Buena Vista Pictures Distribution, Inc.
Release date
June 6, 1993 (1993-06-06) (Los Angeles)
June 25, 1993 (1993-06-25) (United States)
Running time
118 minutes
Country
United States
Language
English
Budget
$15 million
Box office
$39,100,956
What's Love Got to Do with It is a 1993 American biographical film directed by Brian Gibson, loosely based on the life of American-born singer Tina Turner. It stars Angela Bassett as Tina Turner and Laurence Fishburne as Ike Turner.
The screenplay was adapted by Kate Lanier from the book I, Tina written by Tina Turner and Kurt Loder. Both Ike and Tina Turner assigned rights to Lanier for their lives to be dramatized in the film. The film's soundtrack featured the hit song "I Don't Wanna Fight", which went to number one in seven countries. In the United States, the film grossed almost $40 million and around $20 million in rentals. In the United Kingdom, it grossed nearly £10 million.
Contents
1 Plot
2 Cast
3 Production
4 Differences from noted events
5 Awards and honors
6 Ebony Readers' Poll
6.1 Other honors
7 Reception
8 References
9 External links
Plot[edit]
Born and raised in Nutbush, Tennessee, Anna Mae Bullock (Tina's birth name) grows up in an unhappy family, with her parents leaving and abandoning her at a young age. Following her grandmother's death, she relocates to St. Louis, reuniting with her mother and close sister Alline. Anna Mae pursues a chance to be a professional singer after seeing charismatic bandleader Ike Turner perform one night. Later she wins her spot in Turner's band after singing onstage and he begins mentoring her. In time, an unexpected romance develops between the two after she moves into Ike's home. Shortly afterwards, they marry and begin having musical success together as Ike and Tina Turner.
The marriage quickly turns violent when Ike starts physically dominating her, leaving her no chance to escape. In public, Tina rises from local St. Louis phenomenon into an R&B superstar with Ike growing increasingly jealous of the attention given to her. Ike turns to drugs and his abusive behavior worsens. As Tina seeks solace in her chaotic life, a friend turns her on to Buddhism, eventually convincing her that reciting the Lotus Sutra and chanting Nam Myoho Renge Kyo will help "change her life." Tina grows increasingly confident afterwards and in a final fight with Ike finally musters the courage to defend herself, eventually leaving Ike after they arrive at a hotel.
Winning the right to retain her stage name after their divorce, Tina continues working to pay bills. She gets a break after meeting Roger Davies, who eventually helps her realize her dreams of rock stardom. Despite Ike's attempts to win her back, Tina eventually prevails and finds solo success, accomplishing her dreams without Ike.
Cast[edit]
Angela Bassett as Anna Mae Bullock / Tina Turner
Rae'Ven Larrymore Kelly as Young Anna Mae Bullock
Cora Lee Day as Grandma Georgiana
Khandi Alexander as Darlene
Laurence Fishburne as Ike Turner
Jenifer Lewis as Zelma Bullock, Tina's mother
Phyllis Yvonne Stickney as Alline Bullock
Penny Johnson Jerald as Lorraine Turner
Vanessa Bell Calloway as Jackie
Chi McBride as Fross
Sherman Augustus as Reggie
Terrence Riggins as Spider
Bo Kane as Dance Show Host
Terrence Evans as Bus Driver
Rob LaBelle as Phil Spector
James Reyne as Roger Davies
Richard T. Jones as Ike Turner, Jr.
Shavar Ross as Michael Turner
Damon Hines as Ronnie Turner
Suli McCulloghh as Craig Turner
Elijah B. Saleem as teenage Ike Turner, Jr.
Production[edit]
This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (July 2009) (Learn how and when to remove this template message)
Angela Bassett, nominated for an Academy Award for her portrayal of Tina Turner
Halle Berry, Robin Givens, Pam Grier, Whitney Houston, Janet Jackson, and Vanessa L. Williams and were all considered for the role of Tina Turner.[1] Whitney Houston was actually offered the role, but had to decline due to imminent maternity. Jenifer Lewis, who plays Tina's mother in this film, originally auditioned to play Tina Turner, as well; Born in 1957, Lewis is one year older than Angela Bassett.
Angela Bassett auditioned for the role in October 1992 and was chosen only a month before production began in December. During that time she had to learn not only how to talk like Turner but to dance and move like her. She would have been willing to try to do the singing as well, but ''not in the time we had,'' she said. ''I did think about it for a second, though.'' Instead, she lip syncs to soundtracks recorded by Tina Turner and Fishburne. Bassett worked with Tina Turner, but only ''a little bit.'' Turner helped most with the re-creations of her famed dance routines.[2]
All the Ike and Tina Turner songs used in the film were newly re-recorded versions featuring Tina Turner covering her own songs. On "Proud Mary" and "It's Gonna Work Out Fine", Laurence Fishburne sings Ike Turner's parts. For Tina Turner's solo recordings, the original masters were used, including the Phil Spector-produced "River Deep - Mountain High".
Laurence Fishburne was offered the role of Ike Turner five times and turned it down each time.[3] ''It was pretty one-sided,'' said Fishburne, who turned down the project based on the script he first read. Ike, Fishburne added, was ''obviously the villain of the piece, but there was no explanation as to why he behaved the way he behaved - why she was with him for 16 to 20 years, what made her stay.'' The writers made some changes and though Ike is still shown as a pretty despicable sort, the film offers at least some insight into him - most notably a scene in which Ike recalls watching, at age 6, his father's death from wounds suffered in a fight over a woman. The changes helped persuade Fishburne to do the role, but he says that Bassett's casting as Tina played a key part. ''She was the deciding factor, really,'' he said.[2]
Fishburne did not have Ike Turner around as a role model as much as he would have liked. He did meet Ike Turner once, though, during production of the film. "He was not particularly welcome on this project," Fishburne says. The actor's only meeting was a brief introduction when Ike showed up at the Turners' former home in Baldwin Hills during a location shoot. Ike signed some autographs and showed Fishburne his walk. "It was nice to meet him," says Fishburne. "Regardless of his actions, he was so much a part of Tina's life. The movie is about him just as much as her. It's unfortunate that he wasn't welcomed, that both of them weren't around more."[4]
In his autobiography Taking Back My Name, Ike Turner claims the movie damaged his reputation immensely and attacks many of the scenes for being either not strictly accurate or completely fabricated.[citation needed] Director Brian Gibson had no contact with Ike. "I never spoke to him," says Gibson. "I was not allowed to. Disney felt that it would not be a good idea."[4] Tina herself admitted she wish the film had more truth to it. Since they sold the right to use their name and image for the film, neither Tina nor Ike had control over the script. Tina's more graphic accounts of Ike's abuse in her book were not added to the film.
Bassett was injured while filming the first spousal abuse sequence. She fell off the back of a high-rise sofa, put her hands out to reduce the impact, and suffered a hairline fracture of her right hand. She only tried the stunt fall once, and footage leading up to the mishap appears in the film.[citation needed]
Actress Vanessa Bell Calloway, who plays the fictional character Jackie, was leery of chanting the Buddhist words because of her strong Christian faith. Director Brian Gibson allowed her to form the words with her lips silently during filming and added the words with a voice double in post-production. She also appeared alongside Tina in the music video of "What's Love Got to Do with It".[citation needed]
Differences from noted events[edit]
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Though the film took its story from Tina Turner's autobiography, I, Tina, it was determined to be only loosely based on the book, meaning certain events in the film were "fictionalized for dramatic purposes".[5] Examples of the fictionalized scenes include:
In the film, Tina's constant friend, "Jackie" (played by Vanessa Bell Calloway), was a member of The Ikettes who left the Ike and Tina Turner Revue after a violent blowup with Ike in a roadside restaurant. In actuality, this character was fabricated for dramatic purposes. This fictionalized character also visits Tina in the hospital after her attempted suicide and later introduces Tina to Buddhism, chanting "Nam Myoho Renge Kyo" in front of the Gohonzon. Turner never mentioned a friend named Jackie in her autobiography; this single character apparently represents an amalgamation of friends from Tina's past, including members of the Ikettes and friends from the band's entourage.[citation needed]
When Anna Mae Bullock sees Ike Turner and his Kings of Rhythm perform, Ike is shown as the front man. The real-life Ike Turner had stage fright, and though he was a band leader and organizer, he often had other performers, particularly male singers, fronting the band.[citation needed]
The original vocalist behind "Rocket 88", sung by Laurence Fishburne as Ike in the movie, was Jackie Brenston.
During Anna Mae's first performance with Ike and the Kings of Rhythm, Ike is shown playing guitar. But both Tina and Ike have stated Tina sang after being given a microphone by the band's drummer, while Ike played piano during an intermission, rather than during a live performance as illustrated in the film, though she did later front the band the night she began singing with them.[citation needed]
A reenactment shows Tina recording her first song, called "Tina's Wish," on the film's soundtrack. However, this song is actually a re-recording Tina made of an old Ike and Tina song, "Make Me Over," from the Ike & Tina album, Nutbush City Limits (1973). Tina's first recording (as "Little Ann") was actually singing background on one of Ike's songs, "Box Top".[citation needed]
During the scene where Ike and Tina are scheduled to perform at the Apollo Theater in 1960, the bill lists Martha and the Vandellas and Otis Redding as fellow headliners. In reality, Martha and the Vandellas had not formed yet, several of them were performing in another different vocal group called the Del-Phis, while Redding had yet to record his first single and was fronting several bands.[citation needed]
The film shows Tina giving birth to Ike's son, named Craig, but in reality, Craig Turner was Tina's child with another man, Raymond Hill. Hill was a member in Ike's band. Tina gave birth to Craig when she was 18 in 1958. Ike and Tina's only child together, Ronald Renelle Turner also known as Ronnie, was born on October 27, 1960.[citation needed]
Ike did not sneak Tina out of the hospital after she gave birth. In her book she says Ike was not present for the birth of their son. Tina checked herself out the hospital and when she discovered a woman Ike hired to replace her while she recovered was a prostitute. While in the hospital Tina was informed that this replacement was using her name to get clients so Tina went to confront the woman and beat her. Ike mentions the incident in his book as well, he was out of town and unaware that the woman was a prostitute. Tina does mention another incident of being sick in the hospital and claims Ike had his guys sneak her out.
The film depicts Ike and Tina getting hitched after the birth of their son Craig (who was actually Ronnie) in 1960 when in reality they married two years later in 1962.
While Tina mentions that there were accounts of Ike abusing her, he never pushed cake in Tina's face leading to a food fight in a diner. That scene in the film dramatizes an incident Tina Turner accounted in her autobiography, which describes that Ike had bought a pound cake because someone told him she asked for it. Tina says she did not but Ike told her to eat it anyways so she complied.[6]
The film portrays Ike raping Tina in their home studio during the recording of "Nutbush City Limits." In reality, the song was recorded at Ike's Bolic Sound Studio and there is no mention of marital rape in Tina's autobiography. Ike also denied that he raped Tina.
When Tina performs at the Ritz, the film has the timeline at 1983, and the host announces her arrival as her "debut solo performance". However, Tina had first performed at that theater in 1981.[citation needed] Also inaccurate was the film's portrayal of Ike's visit to the theater, where he failed at silencing Tina with his gun. In truth, Ike was never at the Ritz; he had not been seen in public for years following his and Tina's divorce in 1978. Ike had remained in Los Angeles, estranged from Tina for quite some time by 1981. The film's loose depictions do, however, capture the reality that Ike made multiple dangerous attempts to get Tina back following her divorce suit, in which he did threaten bodily harm, and Tina bought a gun to protect herself from Ike and his friends at the time.[6]
Awards and honors[edit]
Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture - Comedy/Musical and an NAACP Image Award for Outstanding Lead Actress in a Motion Picture. Laurence Fishburne was nominated for the Academy Award for Best Actor in a Leading Role and Bassett was nominated for Best Actress in a Leading Role. The film won an American Choreography Award for one of its dance sequences.
Academy Awards
Nominated — Academy Award for Best Actor (Laurence Fishburne)
Nominated — Academy Award for Best Actress (Angela Bassett)[7]
Golden Globes
Won — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy (Angela Bassett)
Ebony Readers' Poll[edit]
Year
Nominee/work
Award
Result
Ref.
1994 What's Love Got to Do with It favorite movie of the year Won [8]
Other honors[edit]
The film is recognized by American Film Institute in these lists:
2004: AFI's 100 Years...100 Songs:
"What's Love Got to Do with It" – Nominated[9]
2006: AFI's 100 Years...100 Cheers – #85[10]
Ranked #2 on Top 9 Subjects of a Music Bio-Pic by Entertainment Weekly[11]
Ranked #8 on Top 10 Best Rock Biopics by Rolling Stone Readers' Poll[12]
Ranked #9 on The Best Black Movies of the Last 30 Years By Complex[13]
Reception[edit]
The movie received critical acclaim.[14][15][16][17] It currently holds a 96% "fresh" rating on Rotten Tomatoes, based on 49 reviews with the consensus: "With a fascinating real-life story and powerhouse performances from Angela Bassett and Laurence Fishburne, What's Love Got to Do with It is a can't miss biopic."
Ike Turner complained that Fishburne's portrayal of him was inaccurate.[18]
Phil Spector slammed the movie (and the book) as a "piece of trash", which "demonized and vilified Ike".[19]
References[edit]
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com/2. Retrieved 2013-10-06.
^ Jump up to: a b "How Laurence And Angela Became Ike And Tina". tribunedigital-orlandosentinel. Retrieved 2017-10-24.
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com/2. Retrieved 2013-10-06.
^ Jump up to: a b WALKER, MICHAEL (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-10-24.
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com. Retrieved 2013-10-05.
^ Jump up to: a b Turner, Tina. I, Tina.
Jump up ^ Seymour, Gene (1995-12-22). "Angela Bassett: Grounded--and Soaring as an Actress : After Vampires, Strange Days, the Film Star Can 'Exhale'". The Los Angeles Times. Retrieved 2010-12-22.
Jump up ^ "EBONY Readers Poll End Of Year". Retrieved March 31, 2018.
Jump up ^ "AFI's 100 Years...100 Songs Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Cheers" (PDF). American Film Institute. Retrieved 2016-08-14.
Jump up ^ "Top 9 Subjects of a Music Bio-Pic". Entertainment Weekly. Retrieved 2018-03-20.
Jump up ^ "Top 10 Best Rock Biopics". Rolling Stone Readers' Poll. Retrieved 2018-03-20.
Jump up ^ "The Best Black Movies of the Last 30 Years". Complex. Retrieved 2018-03-31.
Jump up ^ "Tina turns tumultuous life into 'Love'". Baltimore Sun. 1993-06-18. Retrieved 2013-10-05.
Jump up ^ "Tina Turner Story Tunes In To The Rhythms Of Real Life". Chicago Tribune. 1993-06-11. Retrieved 2013-10-05.
Jump up ^ Turan, Kenneth (1993-06-09). "MOVIE REVIEW : 'Love': Playing It Nice and Rough : Exceptional Acting Powers Story of Up and Downs of Ike and Tina Turner". Los Angeles Times. Retrieved 2013-10-05.
Jump up ^ Rickey, Carrie (1994-03-24). "For Pop Queen Tina Turner, Life Was Never, Ever Nice And Easy". Philly.com. Retrieved 2013-10-05.
Jump up ^ Philips, Chuck (1993-06-24). "Q&A WITH IKE TURNER : 'I Was the One Who Turned Her Into Tina Turner'". Los Angeles Times. Retrieved 2013-10-05.
Jump up ^ "Phil Spector criticises Tina Turner at Ike Turner's funeral". NME.com News. Retrieved December 24, 2015.
External links[edit]
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United States Women's Open Championship (golf)
From Wikipedia, the free encyclopedia
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U.S. Women's Open
Tournament information
Location
Bedminster, New Jersey
in 2017
Established
1946, 71 years ago
Course(s)
Trump National Golf Club in 2017
Organized by
USGA (since 1953)
Tour(s)
LPGA Tour
Format
Stroke play
Prize fund
$5.0 million in 2017
Month played
July in 2017
Tournament record score
Aggregate
272 Annika Sörenstam (1996)
272 Juli Inkster (1999)
272 Chun In-gee (2015)
To par
–16 Juli Inkster (1999)
Current champion
Park Sung-hyun
2017 U.S. Women's Open Golf Championship
The United States Women's Open Golf Championship, one of thirteen national championships conducted by the United States Golf Association (USGA), is the oldest of the LPGA Tour's five major championships, which includes the ANA Inspiration, Women's PGA Championship, Women's British Open, and The Evian Championship.
Established 71 years ago in 1946, the U.S. Women's Open is the only event to have been recognized as a major by the LPGA since the group's founding in 1950. Originally operated by the Women's Professional Golfers Association (WPGA) for its first three years and the LPGA for the next four, it became a USGA event in 1953.[1] Usually held in early July, the U.S. Women's Open is the third major of the LPGA season and has the highest purse in women's golf, at $4.5 million in 2015.
Unlike the U.S. Open, the U.S. Women's Open is not globally recognized as a major championship. The Ladies European Tour does not sanction any of the three majors held in the United States, and the LPGA of Japan Tour has its own set of majors. The significance of this is limited, as the LPGA Tour is the dominant tour in women's golf.
In 2007, international players outnumbered Americans for the first time.[2] The 2008 tournament was won by 19-year-old South Korean Inbee Park, who became the event's youngest winner ever.
The 2012 championship, won by Choi Na-yeon, was played July 5–8 at Blackwolf Run in Kohler, Wisconsin, which previously hosted the event in 1998, won by Pak Se-ri in a Monday playoff that extended to 20 holes.[3] The Original Championship Course for 2012 played just under 7,000 yards (6,400 m), over 500 yards (460 m) longer than in 1998.[4]
Beginning in 2018, the U.S. Women's Open will be held prior to its men's counterpart (rather than following it and the U.S. Senior Open), in order to "provide optimum playing conditions for the world's best players across a broader variety of the country's finest golf courses."[5]
Contents
[hide]
1 Qualification
2 Winners
3 Multiple champions
4 Champions by nationality
5 Future sites
6 See also
7 References
8 External links
Qualification[edit]
The U.S. Women's Open is open to any professional or amateur female golfer. Amateurs must have an up-to-date USGA Handicap Index not exceeding 2.4,[6] lowered in 2014 from 4.4 in 2013.[7] Players may obtain a place by being exempt or by competing successfully in qualifying.
In 2002, a two-stage method of qualification was introduced: 18 holes for local qualifying and 36 holes for sectional qualifying. In 2010, the qualification process reverted to a single sectional stage of 36 holes played on a single day.
The criteria for exemption from qualifying has changed through the years. In 2010, there were eleven exemption categories, including winners of the U.S. Women's Open for the last ten years, winners of the other three majors for the last five years, the top 50 from the previous year's LPGA Tour money list, the top five from the previous year's Japan LPGA Tour, Korea LPGA Tour, and Ladies European Tour money lists, and official winners of LPGA co-sponsored events for the 52-week period prior to the U.S. Women's Open.[8]
There is no upper or lower age limit. The youngest-ever qualifiers were 11-year-old Lucy Li in 2014,[9] and 12-year-old Lexi Thompson in 2007.[10]
Winners[edit]
See also: List of U.S. Women's Open (golf) champions
The number following some winners' names indicates the cumulative number of U.S. Women's Open wins for that player.
Year
Champion
Country
Venue
Location
Score
To par
Purse
($)[11]
Winner's
share ($)
2017 Park Sung-hyun South Korea Trump National Golf Club Bedminster, NJ 277 −11 5,000,000 900,000
2016 Brittany Lang United States CordeValle Golf Club San Martin, CA 282 −6 PO 4,500,000 810,000
2015 Chun In-gee South Korea Lancaster Country Club Lancaster, PA 272 −8 4,500,000 810,000
2014 Michelle Wie United States Pinehurst Resort, Course No. 2 Pinehurst, NC 278 −2 4,000,000 720,000
2013 Inbee Park (2) South Korea Sebonack Golf Club Southampton, NY 280 −8 3,250,000 585,000
2012 Choi Na-yeon South Korea Blackwolf Run, composite course Kohler, WI 281 −7 3,250,000 585,000
2011 Ryu So-yeon South Korea Broadmoor Golf Club, East Course Colorado Springs, CO 281 −3 PO 3,250,000 585,000
2010 Paula Creamer United States Oakmont Country Club Oakmont, PA 281 −3 3,250,000 585,000
2009 Eun-Hee Ji South Korea Saucon Valley Country Club Bethlehem, PA 284 E 3,250,000 585,000
2008 Inbee Park South Korea Interlachen Country Club Edina, MN 283 −9 3,250,000 585,000
2007 Cristie Kerr United States Pine Needles Lodge and Golf Club Southern Pines, NC 279 −5 3,100,000 560,000
2006 Annika Sörenstam (3) Sweden Newport Country Club Newport, RI 284 E PO 3,100,000 560,000
2005 Birdie Kim South Korea Cherry Hills Country Club Cherry Hills Village, CO 287 +3 3,100,000 560,000
2004 Meg Mallon (2) United States The Orchards Golf Club South Hadley, MA 274 −10 3,100,000 560,000
2003 Hilary Lunke United States Pumpkin Ridge Golf Club, Witch Hollow Course North Plains, OR 283 −1 PO 3,100,000 560,000
2002 Juli Inkster (2) United States Prairie Dunes Golf Club Hutchinson, KS 276 −4 3,000,000 535,000
2001 Karrie Webb (2) Australia Pine Needles Lodge and Golf Club Southern Pines, NC 273 −7 2,900,000 520,000
2000 Karrie Webb Australia Merit Club Libertyville, IL 282 −6 2,750,000 500,000
1999 Juli Inkster United States Old Waverly Golf Club West Point, MS 272 −16 1,750,000 315,000
1998 Pak Se-ri South Korea Blackwolf Run, composite course Kohler, WI 290 +6 PO 1,500,000 267,500
1997 Alison Nicholas England Pumpkin Ridge Golf Club, Witch Hollow Course North Plains, OR 274 −10 1,300,000 232,500
1996 Annika Sörenstam (2) Sweden Pine Needles Lodge and Golf Club Southern Pines, NC 272 −8 1,200,000 212,500
1995 Annika Sörenstam Sweden Broadmoor Golf Club, East Course Colorado Springs, CO 278 −2 1,000,000 175,000
1994 Patty Sheehan (2) United States Indianwood Golf and Country Club, Old Course Lake Orion, MI 277 −7 850,000 155,000
1993 Lauri Merten United States Crooked Stick Golf Club Carmel, IN 280 −8 800,000 144,000
1992 Patty Sheehan United States Oakmont Country Club Oakmont, PA 280 −4 PO 700,000 130,000
1991 Meg Mallon United States Colonial Country Club Fort Worth, TX 283 −1 600,000 110,000
1990 Betsy King (2) United States Atlanta Athletic Club, Riverside Course Duluth, GA[N 1] 284 −4 500,000 85,000
1989 Betsy King United States Indianwood Golf and Country Club, Old Course Lake Orion, MI 278 −2 450,000 80,000
1988 Liselotte Neumann Sweden Baltimore Country Club, Five Farms, East Course Baltimore, MD 277 −7 400,000 70,000
1987 Laura Davies England Plainfield Country Club Edison, NJ 285 −3 PO 325,000 55,000
1986 Jane Geddes United States NCR Country Club Kettering, OH 287 −1 PO 300,000 50,000
1985 Kathy Baker United States Baltusrol Golf Club, Upper Course Springfield, NJ 280 −8 250,000 41,975
1984 Hollis Stacy (3) United States Salem Country Club Peabody, MA 290 +2 225,000 36,000
1983 Jan Stephenson Australia Cedar Ridge Country Club Broken Arrow, OK 290 +6 200,000 32,780
1982 Janet Alex United States Del Paso Country Club Sacramento, CA 283 −5 175,000 27,315
1981 Pat Bradley United States La Grange Country Club La Grange, IL 279 −9 150,000 22,000
1980 Amy Alcott United States Richland Country Club Nashville, TN 280 −4 140,000 20,047
1979 Jerilyn Britz United States Brooklawn Country Club Fairfield, CT 284 E 125,000 19,000
1978 Hollis Stacy (2) United States Country Club of Indianapolis Indianapolis, IN 289 +5 100,000 15,000
1977 Hollis Stacy United States Hazeltine National Golf Club Chaska, MN 292 +4 75,000 11,040
1976 JoAnne Carner (2) United States Rolling Green Golf Club Springfield, PA 292 +8 PO 60,000 9,054
1975 Sandra Palmer United States Atlantic City Country Club Northfield, NJ 295 +7 55,000 8,044
1974 Sandra Haynie United States La Grange Country Club La Grange, IL 295 +7 40,000 6,073
1973 Susie Berning (3) United States Country Club of Rochester Rochester, NY 290 +2 40,000 6,000
1972 Susie Berning (2) United States Winged Foot Golf Club, East Course Mamaroneck, NY 299 +11 40,000 6,000
1971 JoAnne Carner United States Kahkwa Club Erie, PA 288 E 31,000 5,000
1970 Donna Caponi (2) United States Muskogee Country Club Muskogee, OK 287 −1 30,000 5,000
1969 Donna Caponi United States Scenic Hills Country Club Pensacola, FL 294 +6 31,040 5,000
1968 Susie Berning United States Moselem Springs Golf Club Fleetwood, PA 289 +5 25,000 5,000
1967 Catherine Lacoste (a) France The Homestead Hot Springs, VA 294 +6 25,000 0
1966 Sandra Spuzich United States Hazeltine National Golf Club Chaska, MN 297 +9 20,000 4,000
1965 Carol Mann United States Atlantic City Country Club Northfield, NJ 290 +2 17,780 3,800
1964 Mickey Wright (4) United States San Diego Country Club Chula Vista, CA 290 −2 PO 9,900 2,090
1963 Mary Mills United States Kenwood Country Club Cincinnati, OH 289 −3 9,000 1,900
1962 Murle Lindstrom United States Dunes Golf and Beach Club Myrtle Beach, SC 301 +13 8,000 1,800
1961 Mickey Wright (3) United States Baltusrol Golf Club, Lower Course Springfield, NJ 293 +5 8,000 1,800
1960 Betsy Rawls (4) United States Worcester Country Club Worcester, MA 292 +4 7,200 1,710
1959 Mickey Wright (2) United States Churchill Valley Country Club Pittsburgh, PA 287 −1 7,200 1,800
1958 Mickey Wright United States Forest Lake Country Club Bloomfield, MI 290 −2 7,200 1,800
1957 Betsy Rawls (3) United States Winged Foot Golf Club, East Course Mamaroneck, NY 299 +7 7,200 1,800
1956 Kathy Cornelius United States Northland Country Club Duluth, MN 302 +11 PO 6,000 1,500
1955 Fay Crocker Uruguay Wichita Country Club Wichita, KS 299 +11 7,500 2,000
1954 Babe Zaharias (3) United States Salem Country Club Peabody, MA 291 +3 7,500 2,000
1953 Betsy Rawls (2) United States Country Club of Rochester Rochester, NY 302 +10 PO 7,500 2,000
1952 Louise Suggs (2) United States Bala Golf Club Philadelphia, PA 284 +8 7,500 1,750
1951 Betsy Rawls United States Druid Hills Golf Club Atlanta, GA 293 +5 7,500 1,500
1950 Babe Zaharias (2) United States Rolling Hills Country Club Wichita, KS 291 −9 5,000 1,250
1949 Louise Suggs United States Prince Georges Golf and Country Club Landover, MD 291 −9 7,500 1,500
1948 Babe Zaharias United States Atlantic City Country Club Northfield, NJ 300 E 7,500 1,200
1947 Betty Jameson United States Starmount Forest Country Club Greensboro, NC 295 −9 7,500 1,200
1946 Patty Berg † United States Spokane Country Club Spokane, WA 5&4 19,700 5,600
PO - Won in playoff
(a) = Amateur
† = Won 5 and 4 over Betty Jameson in 36-hole match play final
Jump up ^ The club is located in a portion of the Duluth postal area that became part of the newly incorporated city of Johns Creek in 2006. Although the club is still served by the Duluth post office, it now lists its mailing address as Johns Creek.
Multiple champions[edit]
This table lists the golfers who have won more than one U.S. Women's Open.
Deceased golfer †
Grand Slam winners ‡
Golfer
Country
Total
Years
Betsy Rawls United States 4 1951, 1953, 1957, 1960
Mickey Wright ‡ United States 4 1958, 1959, 1961, 1964
Babe Zaharias † United States 3 1948, 1950, 1954
Susie Berning United States 3 1968, 1972, 1973
Hollis Stacy United States 3 1977, 1978, 1984
Annika Sörenstam ‡ Sweden 3 1995, 1996, 2006
Louise Suggs ‡ United States 2 1949, 1952
Donna Caponi United States 2 1969, 1970
JoAnne Carner United States 2 1971, 1976
Betsy King United States 2 1989, 1990
Patty Sheehan United States 2 1992, 1994
Karrie Webb ‡ Australia 2 2000, 2001
Juli Inkster ‡ United States 2 1999, 2002
Meg Mallon United States 2 1991, 2004
Inbee Park South Korea 2 2008, 2013
The defending champion has retained the title on seven occasions, most recently in 2001:
2001 - Karrie Webb
1996 - Annika Sörenstam
1990 - Betsy King
1978 - Hollis Stacy
1973 - Susie Berning
1970 - Donna Caponi
1959 - Mickey Wright
Through 2016, three consecutive championships has not been achieved.
Champions by nationality[edit]
This table lists the total number of titles won by golfers of each nationality.
Nationality
Wins
United States 51
South Korea 8
Sweden 4
Australia 3
England 2
France 1
Uruguay 1
Future sites[edit]
Year
Course
Location
Dates
2018 Shoal Creek Golf and Country Club Shoal Creek, Alabama May 31 – June 3
2019 Country Club of Charleston Charleston, South Carolina May 30 – June 2
2020 Champions Golf Club, Cypress Creek Course Houston, Texas June 4–7
2021 The Olympic Club, Lake Course San Francisco, California June 3–6
Source:[4][12]
See also[edit]
Golf portal
Golf in the United States
References[edit]
Jump up ^ "U.S. Women's Open: History". USGA. 2013. Retrieved June 23, 2013.
Jump up ^ "U.S. Women's Open Notebook". PGA Tour. Associated Press. June 26, 2007. Retrieved March 6, 2013.
Jump up ^ Clarke, Liz (July 7, 1998). "Pak wins Open on 92nd hole". Spokesman-Review. p. C1. Retrieved March 6, 2013.
^ Jump up to: a b "2012 U.S. Women's Open: Fact Sheet". USGA. Retrieved March 6, 2013.
Jump up ^ "Shoal Creek to Host 2018 U.S. Women's Open". USGA. May 26, 2014. Retrieved July 16, 2017.
Jump up ^ "U.S. Women's Open sectional qualifying complete". USGA. June 4, 2014. Retrieved June 19, 2014.
Jump up ^ "2013 Women's Open Fact Sheet". USGA. 2013. Retrieved June 19, 2014.
Jump up ^ "2010 U.S. Open Qualifying". Archived from the original on June 12, 2009.
Jump up ^ "Lucy Li, 11, qualifies for U.S. Open". ESPN. Retrieved May 20, 2014.
Jump up ^ Dixon, Peter (June 30, 2007). "Thompson proves that youngsters can have fun". The Times. London. Retrieved April 24, 2008.
Jump up ^ "1946-2010 - US Women's Open - history - purses & winners' shares" (PDF). LPGA. Retrieved July 31, 2011.
Jump up ^ "U.S. Women's Open to be played at Shoal Creek in Alabama in 2018". PGA of America. Associated Press. Retrieved May 30, 2014.
External links[edit]
Official website
United States Golf Association website
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Retrieved from "https://en.wikipedia.org/w/index.php?title=United_States_Women%27s_Open_Championship_(golf)&oldid=790909906"
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David (Michelangelo)
From Wikipedia, the free encyclopedia
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David
Artist
Michelangelo
Year
1501–04
Medium
Marble statue
Location
Galleria dell'Accademia, Florence, Italy
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. David is a 5.17-metre (17.0 ft)[a] marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence.[1]
David was originally commissioned as one of a series of statues of prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in a public square, outside the Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria where it was unveiled on September 8, 1504.
3D
3D model
Because of the nature of the hero it represented, the statue soon came to symbolize the defence of civil liberties embodied in the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the hegemony of the Medici family. The eyes of David, with a warning glare, were turned towards Rome.[2] The statue was moved to the Galleria dell'Accademia, Florence, in 1873, and later replaced at the original location by a replica.
Contents
[hide]
1 History
1.1 Commission
1.2 Placement
1.3 Later history
2 Interpretation
3 Conservation
3.1 Replicas
4 See also
5 References
6 Bibliography
7 External links
History[edit]
Commission[edit]
David, modelling of the marble.
The history of the statue begins before Michelangelo's work on it from 1501 to 1504.[3] Prior to Michelangelo's involvement, the Overseers of the Office of Works of Florence Cathedral, consisting mostly of members of the influential woolen cloth guild, the Arte della Lana, had plans to commission a series of twelve large Old Testament sculptures for the buttresses of the cathedral.[4] In 1410 Donatello made the first of the statues, a figure of Joshua in terracotta. A figure of Hercules, also in terracotta, was commissioned from the Florentine sculptor Agostino di Duccio in 1463 and was made perhaps under Donatello's direction.[5] Eager to continue their project, in 1464, the Operai contracted Agostino to create a sculpture of David. A block of marble was provided from a quarry in Carrara, a town in the Apuan Alps in northern Tuscany. Agostino only got as far as beginning to shape the legs, feet and the torso, roughing out some drapery and probably gouging a hole between the legs. His association with the project ceased, for reasons unknown, with the death of Donatello in 1466, and ten years later Antonio Rossellino was commissioned to take up where Agostino had left off.
Rossellino's contract was terminated soon thereafter, and the block of marble remained neglected for 26 years, all the while exposed to the elements in the yard of the cathedral workshop. This was of great concern to the Opera authorities, as such a large piece of marble not only was costly but represented a large amount of labour and difficulty in its transportation to Florence. In 1500, an inventory of the cathedral workshops described the piece as "a certain figure of marble called David, badly blocked out and supine."[6] A year later, documents showed that the Operai were determined to find an artist who could take this large piece of marble and turn it into a finished work of art. They ordered the block of stone, which they called The Giant, "raised on its feet" so that a master experienced in this kind of work might examine it and express an opinion. Though Leonardo da Vinci and others were consulted, it was Michelangelo, only 26 years old, who convinced the Operai that he deserved the commission. On 16 August 1501, Michelangelo was given the official contract to undertake this challenging new task.[7] He began carving the statue early in the morning on 13 September, a month after he was awarded the contract. He would work on the massive statue for more than two years.
Placement[edit]
A replica of David now stands outside the Palazzo Vecchio.
On 25 January 1504, when the sculpture was nearing completion, Florentine authorities had to acknowledge there would be little possibility of raising the more than six-ton statue to the roof of the cathedral.[8] They convened a committee of 30 Florentine citizens that comprised many artists, including Leonardo da Vinci and Sandro Botticelli, to decide on an appropriate site for David.[9] While nine different locations for the statue were discussed, the majority of members seem to have been closely split between two sites. One group, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that, due to the imperfections in the marble, the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria; the other group thought it should stand at the entrance to the Palazzo della Signoria, the city's town hall (now known as Palazzo Vecchio). Another opinion, supported by Botticelli, was that the sculpture should be situated on or near the cathedral. In June 1504, David was installed next to the entrance to the Palazzo Vecchio, replacing Donatello's bronze sculpture of Judith and Holofernes, which embodied a comparable theme of heroic resistance. It took four days to move the statue the half mile from Michelangelo's workshop into the Piazza della Signoria. Later that summer the sling and tree-stump support were gilded, and the figure was given a gilded loin-garland.[10][11]
Later history[edit]
David Galleria dell'Accademia.
In 1873, the statue of David was removed from the piazza, to protect it from damage, and displayed in the Accademia Gallery, Florence, where it attracted many visitors. A replica was placed in the Piazza della Signoria in 1910.[12]
In 1991, a mentally disturbed artist named Piero Cannata attacked the statue with a hammer he had concealed beneath his jacket;[13] in the process of damaging the toes of the left foot, he was restrained.[14]
On 12 November 2010, a fiberglass replica[15] of the David was installed on the roofline of Florence Cathedral, for one day only. Photographs of the installation reveal the statue the way the Operai who commissioned the work originally expected it to be seen.
In 2010, a dispute over the ownership of David arose when, based on a legal review of historical documents, the municipality of Florence claimed ownership of the statue in opposition to the Italian Culture Ministry, which disputes the municipality claim.[16][17]
In the mid 1800s, small cracks were noticed on the left leg on David which can possibly be attributed to an uneven sinking of the ground under the massive statue.[18]
David's eyes look towards Rome.
Interpretation[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2016) (Learn how and when to remove this template message)
Close-up of David.
The pose of Michelangelo's David is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath, and the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his feet,[19] but no earlier Florentine artist had omitted the giant altogether. According to Helen Gardner and other scholars, David is depicted before his battle with Goliath.[20][21] Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.
The statue appears to show David after he has made the decision to fight Goliath but before the battle has actually taken place, a moment between conscious choice and action. His brow is drawn, his neck tense and the veins bulge out of his lowered right hand. His left hand holds a sling that is draped over his shoulder and down to his right hand, which holds a rock. [22] The twist of his body effectively conveys to the viewer the feeling that he is in motion, an impression heightened with contrapposto. The statue is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude. In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. This is typified in David, as the figure stands with one leg holding its full weight and the other leg forward. This classic pose causes the figure’s hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto is emphasised by the turn of the head to the left, and by the contrasting positions of the arms.
Michelangelo’s David has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty.
David's right hand.
Just the colossal size of the statue impressed Michelangelo's contemporaries. Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed."[23]
The proportions of the David are atypical of Michelangelo's work; the figure has an unusually large head and hands (particularly apparent in the right hand). The small size of the genitals, though, is in line with his other works and with Renaissance conventions in general, perhaps referencing the ancient Greek ideal of pre-pubescent male nudity. These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture may have been accentuated in order to be visible from below. The statue is unusually slender (front to back) in comparison to its height, which may be a result of the work done on the block before Michelangelo began carving it.
It is possible that the David was conceived as a political statue before Michelangelo began to work on it.[24] Certainly David the giant-killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there.[25] Donatello's bronze David, made for the Medici family, perhaps c. 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city. By placing Michelangelo's statue in the same general location, the Florentine authorities ensured that David would be seen as a political parallel as well as an artistic response to that earlier work. These political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces.
Commentators have noted the presence on David's penis of his foreskin, which is at odds with the Judaic practice of circumcision, but is consistent with the conventions of Renaissance art.[26][27]
Conservation[edit]
During World War II, David was entombed in brick to protect it from damage from airborne bombs.
Detail of David's damaged left foot, caused by exposure to the elements and in 1991 when a deranged man hit it with a concealed hammer.
In 1991, the foot of the statue was damaged by a man with a hammer.[13] The samples obtained from that incident allowed scientists to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara. The marble in question contains many microscopic holes that cause it to deteriorate faster than other marbles. Because of the marble's degradation, from 2003 to 2004 the statue was given its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Franca Falleti, senior restorers Monica Eichmann and Cinzia Parnigoni undertook the job of restoring the statue.[28]
In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble.[29]
Replicas[edit]
Main article: Replicas of Michelangelo's David
Approximate heights of various notable statues:
1. Spring Temple Buddha 153 m (incl. 25 m pedestal and 20 m throne)
2. Statue of Liberty 93 m (incl. 47 m pedestal)
3. The Motherland Calls 91 m (excl. pedestal)
4. Christ the Redeemer 38 m (incl. 8 m pedestal)
5. Statue of David 5.17 m (excl. 2.5 m pedestal)
David has stood on display at Florence's Galleria dell'Accademia since 1873. In addition to the full-sized replica occupying the spot of the original in front of the Palazzo Vecchio, a bronze version overlooks Florence from the Piazzale Michelangelo. The plaster cast of David at the Victoria and Albert Museum has a detachable plaster fig leaf which is displayed nearby. Legend claims that the fig leaf was created in response to Queen Victoria's shock upon first viewing the statue's nudity, and was hung on the figure prior to royal visits, using two strategically placed hooks.[30] In 2010, the Italian government began a campaign to solidify its claim to the iconic marble statue.
David has been endlessly reproduced,[31] in plaster and imitation marble fibreglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach resorts, gambling casinos and model railroads.[32]
See also[edit]
List of works by Michelangelo
List of statues by height
References[edit]
Notes
Jump up ^ The height of the David was recorded incorrectly and the mistake proliferated through many art history publications. The accurate height was only determined in 1998–99 when a team from Stanford University went to Florence to try out a project on digitally imaging large 3D objects by photographing sculptures by Michelangelo and found that the sculpture was taller than any of the sources had indicated. See [1] and [2].
Citations
Jump up ^ See, for example, Donatello's 2 versions of David; Verrocchio's bronze David; Domenico Ghirlandaio's painting of David; and Bartolomeo Bellano's bronze David.
Jump up ^ This theory was first proposed by Saul Levine "The Location of Michelangelo's David: The Meeting of January 25, 1504, The Art Bulletin 56 (1974): 31–49. See also J. Huston McCulloch, David: A New Perspective, (2007) accessed 13-02-2010
Jump up ^ The genesis of David was discussed in Seymour 1967 and in Coonin 2014.
Jump up ^ Charles Seymour, Jr. "Homo Magnus et Albus: the Quattrocento Background for Michelangelo's David of 1501–04," Stil und Überlieferung in der Kunst des Abendlandes, Berlin, 1967, II, 96–105.
Jump up ^ Seymour, 100–101.
Jump up ^ Giovanni Gaye, Carteggio inedito d'artisti del sec. XIV, XV, XVI, Florence: 1839–40, 2: 454 and Charles Seymour, Michelangelo's David: A Search for Identity, Pittsburgh: Pittsburgh University Press, 1967, 134–137, doc. 34.
Jump up ^ Gaetano Milanesi, Le lettere di Michelangelo Buonarroti pubblicati coi ricordi ed i contratti artistici, Florence, 1875, 620–623: "...the Consuls of the Arte della Lana and the Lords Overseers being met Overseers, have chosen as sculptor to the said Cathedral the worthy master, Michelangelo, the son of Lodovico Buonarrotti, a citizen of Florence, to the end that he may make, finish and bring to perfection the male figure known as the Giant, nine braccia in height, already blocked out in marble by Maestro Agostino grande, of Florence, and badly blocked; and now stored in the workshops of the Cathedral. The work shall be completed within the period and term of two years next ensuing, beginning from the first day of September next ensuing, with a salary and payment together in joint assembly within the hall of the said of six broad florins of gold in gold for every month. And for all other works that shall be required about the said building (edificium) the said Overseers bind themselves to supply and provide both men and scaffolding from their office and all else that may be necessary. When the said work and the said male figure of marble shall be finished, then the Consuls and Overseers who shall at that time be in authority shall judge whether it merits a higher reward, being guided therein by the dictates of their own consciences."
Jump up ^ The statue has not been weighed, but an estimate of its weight was circulated in 2004, when the statue was cleaned. See a CBS news report of 8 March 2004.
Jump up ^ The minutes of the meeting were published in Giovanni Gaye, Carteggio inedito d'artisti del sec. XIV, XV, XVI, Florence, 1839–40, 2: 454–463. For an English translation of the document, see Seymour, Michelangelo's David, 140–155 and for an analysis, see Saul Levine, "The Location of Michelangelo's David: The Meeting of January 25, 1504, Art Bulletin 56 (1974): 31–49; N. Randolph Parks, "The Placement of Michelangelo's David: A Review of the Documents," Art Bulletin, 57 (1975) 560–570; and Rona Goffen, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, New Haven, 2002, 123–127.
Jump up ^ Goffen (2002), p. 130.
Jump up ^ Coonin, 2014, pp. 90-94.
Jump up ^ Coonin, 2014.
^ Jump up to: a b "a man the police described as deranged, broke part of a toe with a hammer, saying a 16th century Venetian painter's model ordered him to do so." Cowell, Alan. "Michelangelo's David Is Damaged", New York Times, 1991-09-15. Retrieved on 2008-05-23.
Jump up ^ Rossella Lorenzi, Art lovers go nuts over dishy David, ABC Science, Monday, 21 November 2005
Jump up ^ "Michelangelo's David as It Was Meant to Be Seen : Discovery News". news.discovery.com. Retrieved 24 July 2014.
Jump up ^ Povoledo, Elisabetta (31 August 2010). "Who Owns Michelangelo's 'David'?". The New York Times. Retrieved 1 September 2010.
Jump up ^ Pisa, Nick (16 August 2010). "Florence vs Italy: Michelangelo's David at centre of ownership row". The Daily Telegraph (London). Retrieved 1 September 2010.
Jump up ^ A., Borri (2006). "Diagnostic analysis of the lesions and stability of Michelangelo's David". Journal of Cultural Heritage. 7: 273–285. doi:10.1016/j.culher.2006.06.004 – via ScienceDirect.
Jump up ^ "File:Andrea del castagno, scudo di david con la testa di golia, 1450-55 circa, 02.JPG - Wikimedia Commons". commons.wikimedia.org. Retrieved 24 July 2014.
Jump up ^ Helen Gardner, Fred S. Kleiner, Christin J. MamiyaIt, Gardner's Art Through the Ages retrieved February 17, 2009
Jump up ^ Howard Hibbard, Michelangelo, New York: Harper & Row, 1974, 59–61; Anthony Hughes, Michelangelo, London: Phaidon, 1997, 74.
Jump up ^ "David Sculpture, Michelango's David, Michelangelo Gallery".
Jump up ^ Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568, ed. Rosanna Bettarini and Paola Barocchi, Florence, 1966–87, 6: 21.
Jump up ^ Levine, 45–46.
Jump up ^ Butterfield, Andrew (1995). "New Evidence for the Iconography of David in Quattrocento Florence". I Tatti Studies. 8: 115–133.
Jump up ^ Strauss, RM; Marzo-Ortega, H (2002). "Michelangelo and medicine". J R Soc Med. 95: 514–5. doi:10.1258/jrsm.95.10.514. PMC 1279184  . PMID 12356979.
Jump up ^ Coonin, 2014, pp. 105-108.
Jump up ^ Eric Scigliano. "Inglorious Restorations. Destroying Old Masterpieces in Order to Save Them." Harper's Magazine. August 2005, 61–68.
Jump up ^ "Michelangelo's David 'may crack'". BBC News. 19 September 2008. Retrieved 19 September 2008.
Jump up ^ "David's Fig Leaf". Victoria and Albert Museum. Retrieved 29 May 2007.
Jump up ^ " You need not travel to Florence to see Michelangelo's David. You can see it well enough for educational purposes in reproduction," asserted E. B. Feldman in 1973 (Feldman, "The teacher as model critic", Journal of Aesthetic Education, 1973).
Jump up ^ That "typical examples of kitsch include fridge magnets showing Michelangelo’s David." is reported even in the British Medical Journal (J Launer, "Medical kitsch", BMJ, 2000)
Bibliography[edit]
External video
Michelangelo's David, Smarthistory[1]
Coonin, A. Victor, From Marble to Flesh: The Biography of Michelangelo’s David, Florence: The Florentine Press, 2014. ISBN 9788897696025.
Goffen, Rona (2002). Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. Yale University Press.
Hall, James, Michelangelo and the Reinvention of the Human Body New York: Farrar, Straus and Giroux, 2005.
Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams Books,1982.
Hibbard, Howard. Michelangelo, New York: Harper & Row, 1974.
Hirst Michael, “Michelangelo In Florence: David In 1503 and Hercules In 1506,” The Burlington Magazine, 142 (2000): 487–492.
Hughes, Anthony, Michelangelo, London: Phaidon Press, 1997.
Levine, Saul, "The Location of Michelangelo's David: The Meeting of January 25, 1504", The Art Bulletin, 56 (1974): 31–49.
Natali, Antonio; Michelangelo (2014). Michelangelo Inside and Outside the Uffizi. Florence: Maschietto. ISBN 978-88-6394-085-5.
Pope-Hennessy, John, Italian High Renaissance and Baroque Sculpture. London: Phaidon, 1996.
Seymour, Charles, Jr. Michelangelo's David: a search for identity (Mellon Studies in the Humanities), Pittsburgh: University of Pittsburgh Press, 1967.
Vasari, Giorgio, The Lives of the Artists (Penguin Books), “Life of Michelangelo”, pp. 325–442.
External links[edit]
Wikimedia Commons has media related to Michelangelo's David.
David: A New Perspective, J. Huston McCulloch
Michelangelo Buonarroti: David, Art and the Bible
The Digital Michelangelo Project, Stanford University
Models of wax and clay used by Michelangelo in making his sculpture and paintings
The Museums of Florence – The David of Michelangelo
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Michelangelo
List of works
Key: *Attributed, †Lost
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Sculptures
Florence, c. 1488–1492
†Head of a Faun
Madonna of the Stairs
Battle of the Centaurs
Crucifix
Bologna, 1494–1495
Additions to the Arca di San Domenico (St Petronius, St Proclus, Angel)
Rome, 1496–1500
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Pietà
Florence, 1501–1505
David
Madonna of Bruges
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Study of a Kneeling Nude Girl for The Entombment
Male Back With a Flag
Epifania
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Tommaso dei Cavalieri
Vittoria Colonna
Ascanio Condivi
Gherardo Perini
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Lives of the Most Excellent Painters, Sculptors, and Architects
Michelangelo and the Medici
Replicas of David
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The Titan: Story of Michelangelo (1950 documentary)
The Agony and the Ecstasy (1961 novel, 1965 film)
A Season of Giants (1990 TV film)
Coordinates: 43°46′36.13″N 11°15′34.02″E / 43.7767028°N 11.2594500°E / 43.7767028; 11.2594500
Authority control
BNF: cb12071178b (data)
GND: 4246818-8
Jump up ^ "Michelangelo's David". Smarthistory at Khan Academy. Retrieved 18 March 2013.
Retrieved from "https://en.wikipedia.org/w/index.php?title=David_(Michelangelo)&oldid=845314604"
Categories:
16th-century sculptures
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