
267. The Finisher's Paradox
Marie ines Duranton
Description
<p>When Michelangelo was painting the Sistine Chapel ceiling, he designed and built his own scaffolding. But, it only covered half of the ceiling. So he painted the first half of the ceiling, then removed the scaffolding. When he finally got to view his work from the floor, seventy feet below, it was as if he were seeing it with new eyes.</p> <p>After two years work, he didn’t like what he saw.</p> <p>Michelangelo faced what I call “The Finisher’s Paradox.” There’s a contradiction that happens when you try to ship your creative work: By the time you’re done, you can already do better. You learned in the process.</p> <h3>Michelangelo learned on the job</h3> <p>As I talked about in episode 262, Michelangelo <a href= "https://kadavy.net/blog/posts/aim-left/">“aimed left”</a> when he started painting in the chapel. He had little experience as a painter, and even less experience in the wickedly-difficult “fresco” method. He knew the first panel he painted wouldn’t be his best. So, as art historian <a href= "https://kadavy.net/blog/posts/michelangelo-creative-process/">Ross King</a> explained on episode 99, Michelangelo started in an inconspicuous part of the chapel. It was the last place the clergy entering the chapel would see, and the last place the Pope would look when sitting on the throne.</p> <p>Michelangelo did have at least one false start. A few weeks into painting the first panel, he wasn’t satisfied with his work. The salty sea air in Italy was staining the mixture of plaster he had chosen. There were probably also some things he wanted to change about his painting style.</p> <p>Once the plaster on a fresco dries, it’s literally set in stone. But, like stone, you can get rid of it if you destroy it. And that’s exactly what he did: Michelangelo chipped away three weeks of work and started over.</p> <p>If Michelangelo learned a thing or two in the first few weeks painting the Sistine Chapel, you can bet he learned even more painting the rest of the 12,000 square-foot fresco – which, in total, took him four ye
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267. The Finisher's Paradox
Marie ines Duranton