When citing, use the titles supplied in your source. The following guidelines are meant to help with the most important purpose of citation: providing enough information that your readers can find exactly the same image that you are referencing in your research. In a presentation or paper that reproduces an image, you may need to credit both. Depending on the subject, you may cite the artistic subject of a photograph or treat the photo as the cited artwork. DO NOT CITE GOOGLE IMAGES AS THE SOURCE OF AN IMAGE. When at all possible cite the original source of an image. "Michelangelo's Slaves and the Gift of Liberty." Renaissance Quarterly 65 (Winter 2012): 1029-1059. (Photo: Réunion des Musées Nationaux/Art Resource) Bibliography Michelangelo, Rebellious Slave , sculpture, 1513-15, (Louvre, Paris), in Ruvoldt, "Michelangelo's Slaves," 1030, fig. (Photo: Scala/Art Resource) Short Noteġ5. Michelangelo Buonarroti, Tomb of Julius II, sculpture, completed 1545, (San Pietro in Vincoli, Rome), reproduced in Maria Ruvoldt, "Michelangelo's Slaves and the Gift of Liberty," Renaissance Quarterly 65 (Winter 2012): 1032, fig. A Strange Mixture: The Art and Politics of Painting Pueblo Indians. Norman: University of Oklahoma Press, 2015. BibliographyĬite the source, not the individual images:Īuthor (Last, First). Georgia O'Keeffe, "Grey Blue & Black-Pink Circle," oil on canvas, 1929, (Dallas Museum of Art), in Scott, S trange Mixture , 182, fig. Artist Name (Last Name only if cited previously), " Artwork Title ," shortened source information, page(s), plate number.ġ5. Scott, (Norman: University of Oklahoma Press, 2015), 170, fig. 5.11. Awa Tsireh (Alfonso Roybal), "Untitled (Bighorn Sheep and Rainbow)," watercolor on paper, ca.1928-30, (School for Advanced Research, Santa Fe, NM), in A Strange Mixture: the Art and Politics of Painting Pueblo Indians by Sascha T. Artist or Creator, "Image Title," medium, date of artwork, museum item number if available, (name of institution housing the original, city of that institution if not already stated) in Name of Book by Book Author, (Place Published: Publisher, Year), page, figure number.ġ. When citing, use the titles supplied in your source, and the abbreviation 'fig.' or the spelled out words: 'table,' 'map,' 'plate,' etc. Depending on the subject, you may cite the artistic subject of a photograph or treat the photo as the cited artwork. In a presentation or paper that reproduces an image, you may need to credit both.
Published images and illustrations can either be treated like a chapter of a book, or as a numbered section of a page. Revenues from these lands helped fund massive artistic endeavors such as the Tomb, although as Vasari often points out, payment by important persons like Julius II could often be greatly delayed making it to the artists (Vasari, np).In CMS little guidance is given for citing images. Julius II has earned the moniker “Warrior Pope” for his constant campaigning as ruler of the lands of the Papal States. Of course the temporal interests of the popes of this time extended beyond sculpture. He is particularly known for his patronage of the arts, but the papacy throughout this period was a major financier of artistic endeavors by famous artisans like Michelangelo. Julius II was the last pre-Reformation pope.
The Tomb of Julius II is also an excellent example of the power and prestige that came with the papacy during the sixteenth century, being commissioned by the same pontiff who ordered the painting of the Sistine Chapel and the reconstruction of St. This piece is an example of the challenges of being a Renaissance artist as described by Vasari, such as fickle, ever-changing patrons Michelangelo and Pope Julius II fell out repeatedly (Wiesner-Hanks, 154). In fact, it was completed in a radically different form than originally envisioned over thirty years after its original patron died.
This large architectural project took Michelangelo and many assistants four decades to complete from the date of its commissioning.
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