透过史实数据和重新演绎创作技法揭开米开朗基罗不凡一生和艺术瑰宝，揭开艺术奇才的神秘面纱。五百年前，米开朗基罗创造出世上三大艺术极品：戴维像，梵蒂冈西斯汀教堂的天花板壁画，与罗马圣彼得大教堂圆顶。节目中将追随他的成长过程，看他如何从愤怒少年转化成罗马的光荣。他绝顶的才艺深受世人的景仰和推崇，现代专家于是重新演绎当年绘画西斯汀教堂的技法，甚至在仿照米开朗基罗设计的脚手架上工作。一位雕刻家使用传统工具，从当初戴维像采用的矿石场取得一块大理石，重新雕出戴维的头像。然而这些专家的技术与投入，足以完成这些艰难的工作吗？他们是不是少了一个重要的特质：天份？米开朗基罗的私生活也将受到检验，到底是否如传言所说般的风波不断呢？节目从他的信件与诗词，重新拼凑出其一生中最关键的时期，让大家深入了解米开朗基罗复杂人格的固执与才华。我们将发现这位伟大的艺术家也是一位公关天才，他操纵为自己做传的作家，并巧妙地将自己塑造成受苦难的受害者。但是这位艺术史上第一位超级巨星真是穷困潦倒，受尽屈辱，孓然一身的边缘人吗？有可能他其实工于心计，巧妙塑造自己给世人的形象…

揭开神话背后之人的面纱。500年前，米开朗基罗创作了世界上三件最伟大的艺术作品：大卫雕像、梵蒂冈的西斯廷教堂天顶画、罗马的圣彼得大教堂。本纪录片用戏剧的方式，追寻米开朗基罗从一个愤怒的青年人，成长为罗马骄傲的奋斗历程。他的天赋异禀，让人们谈起他时，更多地认他是神，而不是凡人。本片邀请当代专家重新创造他作品的某些部分，来发现他天才造诣的高度。本片还将审视他的个人生活。我们很多人都相信，这颗前无古人的艺术巨星，是一个穷困潦倒、饱受折磨、孤独寂寞的局外人。然而，真实的他莫非是一个狡辩老手，熟练地塑造了自身的形象？

名列「文艺复兴三杰」之首的米开朗基罗，从小展现对艺术的极高天分，更受到当时最具权势的麦迪奇家族拔擢。不料命运多舛，提拔他的知己罗伦佐竟突然辞世，顿失依靠的他，回到修道院后改学解剖，竟意外开启人像雕塑的崭新境界…。以壁画《创世纪》、《最后的审判》及雕塑《大卫像》奠定了他在艺术史上破天荒的地位。这些强烈的艺术风格，甚至影响数个世纪的艺术家们，迄今仍无人能超越其成就。

Film about the drawings of Michelangelo and the way that they illuminate this life, his artistic development, his religion and his inner torments. The film is presented Neil MacGregor Director of the British Museum and is filmed on location in Florence and in the Sistine Chapel. Michelangelo's drawings are some of the greatest of all time. 　　Fragile survivals from over 500 years ago, they can be studied and admired as things of great technical skill and enormous beauty, but they show us something else as well: they show us Michelangelo thinking. Michelangelo would have felt exposed seeing us look at his drawings. And that's what makes them exciting: they give us a thrilling insight into how this genius sculptor, architect and painter worked: they bring us closer to the master.From pen studies made when he was in his early twenties to the visionary crucifixion scenes carried out six decades later, shortly before his death, this film illuminates the high points of Michelangelo's career. 　　The film observes a life class at the Prince's Drawing School and uses the male sitter they are drawing to see how precisely Michelangelo studied his great obsession: the human body. From the sketch of God giving life to Adam for the Sistine Ceiling, to drawings in preparation for the Last Judgement and the great last works on the crucifixion, the film traces the remarkable evolution of some of the world's most celebrated artworks. 　　DVD Extras: A gallery of 25 drawings of Michelangelo from the superb collections of the British Museum and the Ashmolean Museum in Oxford

Film about the drawings of Michelangelo and the way that they illuminate this life, his artistic development, his religion and his inner torments. The film is presented Neil MacGregor Director of the British Museum and is filmed on location in Florence and in the Sistine Chapel. Michelangelo's drawings are some of the greatest of all time. 　　Fragile survivals from over 500 years ago, they can be studied and admired as things of great technical skill and enormous beauty, but they show us something else as well: they show us Michelangelo thinking. Michelangelo would have felt exposed seeing us look at his drawings. And that's what makes them exciting: they give us a thrilling insight into how this genius sculptor, architect and painter worked: they bring us closer to the master.From pen studies made when he was in his early twenties to the visionary crucifixion scenes carried out six decades later, shortly before his death, this film illuminates the high points of Michelangelo's career. 　　The film observes a life class at the Prince's Drawing School and uses the male sitter they are drawing to see how precisely Michelangelo studied his great obsession: the human body. From the sketch of God giving life to Adam for the Sistine Ceiling, to drawings in preparation for the Last Judgement and the great last works on the crucifixion, the film traces the remarkable evolution of some of the world's most celebrated artworks. 　　DVD Extras: A gallery of 25 drawings of Michelangelo from the superb collections of the British Museum and the Ashmolean Museum in Oxford

影片描述了米开朗基罗在绘制西斯廷大教堂天顶画的过程中和雇主，罗马教皇朱利尤斯二世之间发生的故事，着力表现两个巨人之间的冲突和友谊。

影片描述了米开朗基罗在绘制西斯廷大教堂天顶画的过程中和雇主，罗马教皇朱利尤斯二世之间发生的故事，着力表现两个巨人之间的冲突和友谊。

Quote: 　　By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film's repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker's recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti's marble statue of Moses - a scaled down version of an ambitiously conceived wall tomb for Pope Julius II - is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture's composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses' opaque gaze - an image that is sublimely matched by the filmmaker's own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture's robust physical form and timeless, universal beauty, Antonioni's juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of - and mortal transcendence through - enlightened art. 　　filmref.com

Quote: 　　By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film's repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker's recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti's marble statue of Moses - a scaled down version of an ambitiously conceived wall tomb for Pope Julius II - is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture's composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses' opaque gaze - an image that is sublimely matched by the filmmaker's own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture's robust physical form and timeless, universal beauty, Antonioni's juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of - and mortal transcendence through - enlightened art. 　　filmref.com