Vittoria Colonna

Vittoria Colonna, originally uploaded by MichelAngelo▲.

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Vittoria Colonna com tranças.
"Eu sei que você já pode me ver. Isto é para você, com todo meu amor." MichelAngelo.
Nanquim sobre papel. 2010.
Respondendo à curiosidade geral:
Não, eu ainda não a encontrei. Estou apenas expressando uma sensação que me acompanha desde 1983 e que se tornou a essência da minha consciência.
Súbito, eu a senti com o coração e fiz o desenho acima. Quando fui postar a imagem, eu descrevi a sensação.
O meu autorreconhecimento como o próprio Michelangelo vem do meu desespero ao vê-la morta em 1547. Não tenho evitar que essas coisas aconteçam.

Vittoria Colonna with braidings.
"I know that you already can see me. This is for you, with all my love." MichelAngelo.
Indian Ink on paper. 2010.
Replying the general curiosity:
No, I didn't have found her yet. I'm just expressing a sensation that emerged in 1983 and became the essence of my consciousness.
Suddenly I felt her with my heart and I sketched the image above. After that, when I was posting the pic, I wrote the line about the sensation itself.
The recognition of myself as Michelangelo himself comes from my desesperation when I saw her dead in 1547. I can't avoid these stuffs to happen.

My last words to the Old Pothead Lady

The Old Pothead Lady wrote:
My point is this: plenty of people on DA have produced michelangelo look-alikes. I don’t understand what makes your renditions so special as to consider yourself the man reborn.
I answered:
Could you show me one of this michelangelo look-alikes? Just one! Could you? Drawings would be fine.
I spent 20 years looking for this kind of art work to prove to myself that the secrets of my art can be learned.
If you show me any direct copy or close to that I will stop this discussion!
And will not post anything of this debate on my blog!!!

Well, the discussion stopped anyway. But I decided to show here how stupid people use their rhetoric just to protect the official understanding of reality. It's interesting to see that since I started presenting myself as Michelangelo himself nobody dared to face me. Why is that? I'm coming to the conclusion that there's a complete absence of knowledge on my kind of art. Probably everyone is affraid of some secret that I would be keeping hidden.
I confess that I'm waiting for the attack from an art authority. These discussion with average people are pointless.

The discussion: http://michelangelonow.deviantart.com/gallery/?offset=96#/d24was7

The War Of MABUS - The Old Pothead Lady - 2

Pikeman In Action, originally uploaded by MichelAngelo▲.

I was intended to post many aspects about the discussion with this idiot that I called The Old Pothead Lady. But I came to the conclusion that the texts would be useless in reaching a deep debate about me. She has no knowledge about sculpture. Check out what she said about the Pietá:

" … finessed, detailed. You see everything that you would if a person was standing there in the place of a statue."

Does anybody could tell me where is the huge mistake in her assertion about the Pietá?
It's very simple: if you put a natural body in the place of the dead Christ for an example, the Virgin Mary should be a giant woman (a little bit less than 8 feet - 2,40 meters). I know that some female basketball players can be very tall, but it's doubtfull if all the proportions will create the same visual effect of the Pietá. We can say the same to the natural male body that would be replacing the dead Christ. A lot of slight distortions on the natural body's features are necessary to reach the 3D impact of the main view. All those guidelines about classic sculpture are very well known basics. There are no deep secrets behind the making of the Pietá. But there are others sculpture works with complex anatomic rearrangements.
This idiot, The Old Pothead Lady, wants to deny my identity just using her rhetoric. There are so many contradictions in her text that I decided to forget her. She doesn't even imagine what was the goal of my art in that time. The copy of the natural body was not the result I was looking for. My passion was to create a metaphoric rebuilt of the human figure inspired by the greek and roman antiques. At that time, in the italian Renaissanse, I was always studing statues just for that purpose, but I used to make studies of live models and corpses as well. Today, I work only with my intuition, and this makes a big difference in the result. My self recognition as Michelangelo himself does not come from my art. It comes from painful memories. Emotional things that stupid people will never understand. I have better things to do than arguing with assholes like this Old Pothead Lady.

To find out why I called her The Old Pothead Lady, check out the whole discussion:
http://michelangelonow.deviantart.com/gallery/#/d24was7

The War Of MABUS - The Old Pothead Lady - 1

This is absolute awesome. After deciding to be the most rude I could be writing my replies in english, I came across this comment on my DeviantArt page:

Your drawing style is renaissance, I guess, but, honestly, Michelangelo's art is completely different. Aside from his complete mastery compared to this, no offense, your technique is all different. His understanding of the body, shading, even his approach, I dont really see at all in your work. I mean, most people have had some trippy visions, but you cant really believe everything your mind comes up with. Hey, whatever, ignore what I said. You're Michelangelo. Haha, fine.

This was written by some Annie (~asclepius11) in DeviantArt.

English is not my native language, but I've concluded that she is a mature person, at least. The problem is the lack of knowledge being used to disprove what she even don't know nothing about.
But it's interesting to read her comment side by side with the other one I showed on my last post:

no, this guy thinks his the reincarnation of Michelangelo, so he copies Michelangelo's work. the only think I have to say is that any averagely-talented art student is able to do this.

This was written by a retarded called hopelesslyinlovedu in YouTube.
OK, I know that these two imbeciles are just being agressive with me. But I really want to see if they would bet an amount of money on what they think about me.
Well, I will make a small bet on me! US$ 1,000! Does anybody wants to play this poker game with me?
I think that this Annie is an art teacher and her students annoyed her talking about myself. This is the only explanation to her attacks on me.
As you all will see in the next posts about her, she is an example of the great misunderstanding of our time about the art of the past. Her comments were a statement of a huge ignorance (I was affraid that she would delete her comments! So I've copied all of them). She don't know a thing about the classic nude language in sculpture.
Attention! People who sees themselves as an art connoisseur pay attention to the stupidity of this Annie on the next posts! The Modern Art of XX century has destroyed all your capacity of thinking and (worst of all) the capacity of contemplating mentally! Your capacity of viewing was reduced to the beliefs of the institutionalized elite.

Check out the whole discussion:http://michelangelonow.deviantart.com/gallery/#/d24was7
The better thing this Annie should do in her life is to get high and get lost.

Português:
Esta retardada, a quem dei o apelido de Velha Maconheira (nada contra a quem faz uso), é uma americana que, pelo inglês dela, deve ser uma dessas professoras-turista de arte. Mas ela me ajudou muito pois fez a defesa automática e desesperada da normalidade do senso comum de modo inusitado. A postura dela, típica de piranha-velha das artes, é interessante porque escolheu a completa negação da minha identidade em qualquer coisa que eu tenha feito. Mas essa completa negação beirada a loucura por sua completa irrealidade.
Já o outro sujeito, um cucaracha babaca que tem raiva gratuita de brasileiro (por não falar aquela língua cucaracha deles), fez a defesa automática e desesperada da normalidade do senso comum ao afirmar que os meus trabalhos em arte são simples cópias.
Detalhe: ao final do bate-boca com os dois, nenhum deles apresentou qualquer exemplo para justificar os ataques contra mim. Mas podem ter certeza que essa agressividade contra o que eu represento só está sendo expressa por conta do anonimato na rede. Enquanto a minha vida inteira está exposta, esses dois covardes se escondem. Até agora, galera, não vi a cara de ninguém que tenha me atacado (com excessão de uma, mas essa queria outra coisa). E mostrar a cara é o mínimo necessário para que eu respeite alguém que queira se opor à minha verdade.

Veja a integra do bate-boca:
http://michelangelonow.deviantart.com/gallery/#/d24was7

The War Of MABUS - Who is the great imbecile?

Here we have two idiots from different parts of the world.
The first one, some fucking "hopelesslyinlovedu", claimed to be "well-educated". But he came to the conclusion that I'm copying my own work (of my italian life). I asked him to show me the originals that he thinks I'm copying. He simply refused to argue with me. So what would be the reason that an asshole like him had to write this comment below my video The Messiah on YouTube?

hopelesslyinlovedu:
no, this guy thinks his the reincarnation of Michelangelo, so he copies Michelangelo's work. the only think I have to say is that any averagely-talented art student is able to do this.

Of course this blockhead just wanted to attack me. Since he didn't discuss any point with me, I decided to show what kind of shit I have been finding around the world.

The second idiot is some Mark Anthony that showed up on my FaceBook page.
He asked me about the books he thinks I'm using to make my drawings.
But I'm really surprised to see that my drawings could be considered copies when they are not.

But after all these "misunderstandings" (these two imbeciles cannot understand what they see), I will show a person who thinks the opposite! I will show one jerk that thinks my art work has nothing to do with Michelangelo (my old self)!!! I will call her The Old Pothead Lady.

The contrast of these impressions about me IS the main aspect of my personal war - The War Of MABUS. There's a wide gap in today's culture. After the brainwash of the XX century, the entire world has the SAME comprehension about art: is equal to some "scientific search". In every corner of this stupid planet I have met the same kind of people. It's easy to see that nobody wants to leave the mainstream.

The War Of MABUS - The retarded number 2

Andreas Gosch said:
You've got phenomenal works on your stream! Probably you are not the reincarnation of Michelangelo, but you are close to to him.
My reply:
Just a question, Andreas Gosch…
If I show you a proof of my artistic identity, how would be your reaction?

After this mystic opinion (I am close to him… wow…) of this imbecile, I understood that being polite won't lead me anywhere.
I have a lifetime of proofs of being not a reincarnation but being Michelangelo himself for a second time. But how could I get a chance to explain that with all this silence around me?
And what kind of proof this asshole will be able to think about?
I really want to see the face of those idiots the day that I open a few secrets of my art. Whatever…
Well, from that point, I decided to be the most rude I could be replying in english. (This is probably why most brazilians are mute: we speak the same language. There would be no boundaries for my violence in portuguese).
From now on, it's WAR!

Traduzindo a postagem de forma resumida:
Depois de me elogiar, um boçal chamado Andreas Gosch me disse que acha que eu não seja a reencarnação de Michelangelo. Mas, em tom místico, acha que estou "perto dele".
Eu lhe perguntei, então, qual seria a sua reação caso eu apresentasse uma prova de ser o próprio Michelangelo. Sinceramente, eu achei que ele me perguntaria por tal prova, mas não houve resposta.
Nesse ponto, eu comecei a entender que a minha postura educada inicial não ajudava na divulgação da minha experiência de vida. Foi então que decidi sair chutando a cara desses gringos babacas pra ver se algum imbecil resolveria me enfrentar. Acabou dando certo com uma americana, que apelidei de "Velha Maconheira".
Comentei, também, que eu acho que a galera brasileira está calada porque a minha violência em português não teria limites. Bem, isso é fato, mas acho que ninguém ainda se animou a me atacar porque tem outros meios para fazê-lo. Porém, teve gente que me "atacou" por email (não foi bem um ataque, mas eu estou considerando como tal para ter assunto no blog, rrsssss).

The War Of MABUS - The Modern Art Robot - 3

lizadreams says:
Your work is very good. Sculpture must be very difficult! You definately have a gift. You should do some original work.

This opinion is a typical prejudice of whom does not know a thing about classic sculpture. It's typical from modern art robots. Any brief look at pics on an average book of greek-roman culture reveals how different this piece is from the original classic nude.
I would like to see the face of those who thinks this piece is not that original when they become aware of how this Apollo's body is unique. The complex anatomic distortion creates a 360º visual impact. There's no relation with the natural body. I would like to ask if someone could imagine how I did it. I bet that nobody can even wonder.
This lizadreams makes Picasso-like paintings. I spent my last two decades observing thousands of Picasso-like "artists". I cannot even point out who is who. Nowadays the guidelines of "how to be original" are imposed by the modern global culture. Thanks God I have enough soul to scape from this stupid global art destiny.

Essa opinião é o típico preconceito de quem não sabe porra nenhuma de escultura clássica. É algo típico de robôs da arte moderna. Uma rápida verificada em um livro qualquer de cultura greco-romana revela como esta minha obra é diferente dos nus clássicos.
Gostaria de ver a cara das pessoas que pensam que esta obra não é original no dia que tiverem consciência de como o corpo do Apolo é único.A distorção anatomica cria um impacto visual em 360º. Não há relação alguma com o corpo natural. Gostaria de perguntar se alguém imagina como fiz essa escultura. Duvido que alguém me responda.

Essa lizadreams faz pinturas tipo Picasso. Passei duas décadas conhecendo milhares de "artistas" desse tipo. Nem consigo distinguir um do outro. Mas hoje em dia existe uma cultura global moderna ditando como ser original. Agradeço a Deus por ter alma suficiente para escapar desse destino global imbecil do mundo da arte.

The War Of MABUS - The Modern Art Robot - 2

lizadreams says:
I like this !

What a surprise… She likes my process. This is the typical behavior of modern art robots: pointing out some gestures and fragments of material that looks unusual. What a jerk. Did she ever stop to think about the desperate search of the new imposed by today's unique view of art?

People don't get my art because of the forgotten visual science of my time. My understanding of the world is complete different. Although I'm living in today's world, the art experience that guides my hands comes from my first life. When the need to express the transcendence of the human figure was the main aspect of every representation. It was virtually impossible to separate the teological from the classical issue. The christian stories were the ultimate human expression and the images of the classical past was a mystery to be recovered.
So how can I explain to modern art robots what was my intentions on this colored study for a Sacred Family?
I made this drawing using a white chalk to think the composition one more time. The colors were a quick option to make a 3D ilusion.

The War Of MABUS - The Modern Art Robot - 1

This woman, lizadreams, is the typical modern art robot.
She was the first retarded to attack me. The way she tried to point out a lack of divinity on my work would be funny, but it's just human stupidity in its normal scale.
My reply was polite. I though she would debate with me.
But how could a debate occur when the concerning aspect of discussion is some divine quality that she saw on my Italian drawings? I could show to her many Italian drawings so bad executed that I do not recognize these drawings as having been made by me.

lizadreams says:
Your drawings are good..great, but something is missing. You are still a great artist, far better than I'll ever be, but you're no M.Angelo. M.Agelo's work had divine beauty in the most simple sketches and even in the ugliest figures and portraits.

MichelAngelo▲ says:
You are wrong, lizadreams.
I'm MichelAngelo.
You just can't admit it to yourself because you envy me.
If you knew a little about the art of sculpting you would understand my geometric language of the male nude.
That's what proved my identity to myself, 18 years after the remembering of Vittoria's death.
That's what I'm going to expose to everybody.
But you can't even know what I'm talking about because there's nothing in books about my spatial reconstruction of the human anatomy.
What a pity.
What do you mean about divine beauty?
Could you give me an example?
That sounds to me like pure fetish.
Keep your fetish on ancient art to yourself, OK?
Just an information: this drawing was made in 1985.

Português:
Essa mulher, lizadreams, é o típico robô da arte moderna. Apesar de ser uma boçal, eu acho que vale a pena postar a opinião dela.
Essa colocação dela, de que o meu desenho não possui a qualidade divina dos meus desenhos italianos, seria motivo de riso não fosse apenas expressão da estupidez humana mais comum.
A atitude incondicional de ver o divino em rabisco antigo é típica de turista deslumbrado com aquilo que sequer entende a natureza. O problema é que há desenhos atribuídos a mim que eu não os reconheço como sendo meus. Alguns porque são simplesmente toscos e outros por estranheza em relação à construção visual. E ela acha tudo "divino". PQP… Mas eu sabia que encontraria retardadas desse gênero assim que abrisse a minha história.

More than one year presenting myself: the reactions - 3

There's an important point that people are not getting about my attitude and it reveals the automatism of some reactions. Why I'm not presenting myself with my "real" name: Carlos Eurico Poggi. Why is that? Let me explain it once and for all:
I have already did it. I was in my early thirties and I was trying to build up a normal life.
When the supernatural experience was on during the period of 1979 to 1991, I hid everything. After that, I presented myself formally as "Carlos Eurico Poggi" in every professional opportunity, from 1992 to 2007. I tested all types of normal bios about me. I wasted time and money inventing lots of explanation just to cover up the real story behind me. The result was awful. The misunderstandings on my artistic goal was impossible to solve.
So it's easy to see that I'm not a weird newcomer trying to call attention. I have all that fake portfolios to prove what I'm writing here.
The situations I faced was so terrible that I had decided to give up my classic art as a way to survive. And I was doing fine as a contemporary artist. Once again I have all the images to prove what I'm telling.
The main reason behind my choice to reveal my story and present myself as MichelAngelo BuonaRoti (something that the majority of you will not understand) is the spiritual duty behind it.
I do not want to convince anybody about nothing. I don't even like what I'm doing. I just know I have to do it. I hate what happened to me from 1979 to 1991. I hate having to explain it. So it's not easy to get my intentions and the anger and aggressiveness that come with it. It's the only thing left to me to do with all that crap of being MichelAngelo: to take revenge on stupid people. And I will not have any mercy with these trashes.
After all those years being attacked by the stupidity of the "normal" ones, now it's my turn to strike back. And I will do this FOREVER, until my last day in this doomed life.

More than one year presenting myself: the reactions - 2

Before start posting and pointing out who are the people that attacked me until now, there some aspects of my nowadays situation that I have to explain:
First of all, none brazilian wrote a single word to me that I have to respond in a agressive way. The reason is simple: my documentary film. Altough I exposed a very summarized version of what I lived in the 80's and 90's, the lack of language barrier is enough to reveal the emotion behind my todays attitude. The communication is complete.
The second aspect of my brazilians compatriots that I'm going to point out however maybe be sounds as a bad comment on their behavior: modern brazilian culture don't give a shit about antique european art. To be more accurate on my criticism, the european legacy is seen by educated brazilians as something to be vanish in the name of the pure brazilian identity in art. Cutting short: they don't see any meaning in some weird guy claiming to be the original Michelangelo. For brazilians, the italian renaissance is just a part of History and a good theme to be explored in the next vacation. Nothing more.
The only people that I always have noticed an unrestrained interest on my art work through all these years are the americans. The american passion about the italian renaissance can be verified easily just observing which are the most viewed productions on the cable TV etc.
And there was no surprise when I saw the first person to write to me just two days of presenting me as Michelangelo: an american. When I read his email asking me "Hi Michelangelo! Do you have plans for a new afresco painting?" I tought he was joking, but he was not!
I think also that the sci-fi culture in the US helps a lot on attracting attention to my situation in life. In fact the only three people that attacked me until now are americans because the passion about Michelangelo, and the passion about antique art. For them, the americans, the misterious of the italian renaissance is sacred, for them, it's the art that really matters.

More than one year presenting myself: the reactions - 1

Since I started presenting myself as Michelangelo himself, the most weird reaction was the inverse identification of my art.
During the 90's, when I was looking for a living with my art and presenting me as Eurico Poggi, I spent more than 10 years hearing the same crap: "Hey! All your pieces are from Michelangelo! Don't you have anything created by you?" This judgment of any photo of my art work was so automatic that I found myself trying everything to erase my Michelangelo's style. I needed to be accepted as an artist. And the only solution was to completely avoid drawing and sculpting.
But 2007 came and I realized that there would be no solution to my life without exposing my secret personal story. By the end of 2008, after the release of my documentary film "Icarus, Contemplation & Dream", when I finally presented my art work with the true context that generated it, I understood that I had to present myself as the original Michelangelo. And I came to the internet and changed all my profiles wherever I have one.
What a surprise. As a "lunatic" claiming to be the famous italian renaissance artist, for the first time in my life I met people that don't even think my art being close to the works of Michelangelo. Why is that? Do you know why? I know the explanation to this twisted reaction to my art.
But… beyond this politics of ego recognition, I saw that the best way to create a dialogue between me and people in general, and spread my personal story, is to be attacked. Yeah! I have to be attacked! And I love to strike back!
The next posts I will show the only three attacks I have suffered until now. My intention is to start a war, any kind of war, but none of my "enemies" didn't respond to my verbal retaliation. It's very disappointing, but I still have a great hope to have a huge argument with someone with balls to do so.

The Ecstasy And The Agony

The Ecstasy And The Agony, originally uploaded by MichelAngelo▲.

Study for Ecstasy & Agony. Pencil on paper. 1990-94.
Estudo para Êxtase e Agonia. Lápis sobre papel.1990-94.
Probably this drawing was my last attempt to find a solution to these two twisted body in a spiral like movement.

The Ecstasy And The Agony - Detail

The Ecstasy And The Agony - Detail, originally uploaded by MichelAngelo▲.

Study for Ecstasy & Agony. Pencil on paper. 1990-94.
Estudo para Êxtase e Agonia. Lápis sobre papel.1990-94.
When I finished this drawing I finaly became aware of how the Ectasy's legs should be connected with Agony's body.