Sistine Chapel ceiling reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art. A total of 343 figures were painted on the ceiling. To reach the chapel's ceiling, Michelangelo designed his own scaffold, a flat wooden platform on brackets built out from holes in the wall near the top of the windows, rather than being built up from the floor. Mancinelli speculates that this was in order to cut the cost of timber. According to Michelangelo's pupil and biographer Ascanio Condivi, the brackets and frame
Ceiling Painting/Yes Painting affirmation has been likened by Ono to the intimidating stature of a cathedral. The relationship between "Ceiling Painting/Yes Painting" and Ono's 1964 work "Cut Piece" was extensively critiqued by James M. Harding in his essay "Between Material and Matrix: Yoko Ono's "Cut Piece" and the Unmaking of Collage" in his 2012 book of essays, "Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde". Ceiling Painting/Yes Painting Ceiling Painting/Yes Painting is a 1966 conceptual artwork by the Japanese artist Yoko Ono. The work is made from paper, glass, a metal frame, a metal chain, a magnifying glass, and a painted