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In September 1987, Ben Long got his first look at the altar wall of St. Peter's Catholic Church in Charlotte, North Carolina. Over 30 feet high at its peak, encompassing 1,540 square feet, it was the size of a small house. Long's job was to cover it with a fresco painting. The project consumed the next two years of his life. Long and the priest at St. Peter's, Father John Haughey, sometimes disagreed bitterly over the content of the fresco, recalling the battle of wills between the more famous prototypes, Michelangelo and Pope Julius II. This is the story of the St. Peter's fresco from its birth, when the struggling church was given a second life, to its aftermath, when Long received a commission for a major fresco in the Bank of America building in Charlotte. But mostly, it tells of Ben Long, a talented, complex man who learned his craft from teachers as different as his evangelist grandfather and an Italian master, in places as diverse as Vietnam and Florence-a man bucking the tide of contemporary art in his effort to create something of lasting beauty.… (más)
A sympathetic biography of Ben Long and his work as an artist by a reporter for the Charlotte Observer newspaper. He tells the story of how and why Ben Long does his work, and some of the problems the artist and man encountered in performing his craft. A good review of his major frescoes also tells some of the stories behind and in front of his accomplishments. A good overview of the work of this noted southern artist. ( )
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
To Polly
Primeras palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
Most of the face is there, the lank hair matted with sweat, the dark eyes under a fevered brow. But Ben Long is not satisfied.
Citas
Últimas palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
"It's done what the mysteries of God and Christ are always supposed to do: to make the remote proximate, the intangible tangible, the conceivable perceivable," said the priest. "That's whate we were hoping; that's what it's done."
In September 1987, Ben Long got his first look at the altar wall of St. Peter's Catholic Church in Charlotte, North Carolina. Over 30 feet high at its peak, encompassing 1,540 square feet, it was the size of a small house. Long's job was to cover it with a fresco painting. The project consumed the next two years of his life. Long and the priest at St. Peter's, Father John Haughey, sometimes disagreed bitterly over the content of the fresco, recalling the battle of wills between the more famous prototypes, Michelangelo and Pope Julius II. This is the story of the St. Peter's fresco from its birth, when the struggling church was given a second life, to its aftermath, when Long received a commission for a major fresco in the Bank of America building in Charlotte. But mostly, it tells of Ben Long, a talented, complex man who learned his craft from teachers as different as his evangelist grandfather and an Italian master, in places as diverse as Vietnam and Florence-a man bucking the tide of contemporary art in his effort to create something of lasting beauty.
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