All the Beauty in the World

Bringley continues to explore the theme of Art and Mortality, frequently juxtaposing discussions of artistic creation with reflections on the transient nature of human life. This is particularly notable in his examination of Michelangelo’s later works, created when the artist was approaching the end of his life. He describes Michelangelo working on St. Peter’s Basilica and the Pietà in his eighties, still striving to create despite physical decline and self-doubt, “an old man bent over a white sheet, struggling to make his hand perform what his mind and heart require” (161). Bringley expresses a quiet admiration for Michelangelo’s persistence: “What made Michelangelo Michelangelo came in the next step. After completing his study, he got up and worked to make the thing real. He was hammering a chisel against obdurate marble just days before his death” (161). This portrayal of Michelangelo's final days serves to highlight the enduring power of artistic drive in the face of mortality, suggesting that the act of creation itself may be a form of defiance against the inevitability of death.

The concept of The Museum as a Sanctuary is also prominently featured in these chapters. The author describes the Met as a space apart from the ordinary world, where visitors can engage with beauty and contemplate the human experience across time and cultures. This theme is particularly evident in the author’s reflections on his final day as a guard, as he considers the unique perspective his role has afforded him. He describes wandering through the galleries, savoring the quiet moments before the museum opens, and reflecting on how the space allows for a deep engagement with art and history. The author’s description of the museum as a “world in miniature” (177) emphasizes its role as a sanctuary for contemplation and appreciation of human creativity.

The textual structure of these chapters is noteworthy for its interweaving of art history, personal reflection, and broader philosophical musings. The author moves fluidly between detailed descriptions of specific artworks, anecdotes from his experiences as a guard, and more abstract contemplations on the nature of art and life. For example, he transitions from describing Michelangelo’s struggles with the Sistine Chapel ceiling to reflecting on the nature of daily work and perseverance to discussing the challenging lives of the Gee’s Bend quilters. This structure allows for a rich, multifaceted exploration of the subject matter, drawing connections between disparate artworks and experiences.

Throughout these chapters, Bringley employs various rhetorical devices and literary elements to enhance his narrative. Imagery is used to bring artworks to life for the reader, such as his description of the “pixelated lightning bolt” (164) in Mary Elizabeth Kennedy’s quilt. The author utilizes analogies and comparisons to draw connections between art and broader aspects of the human experience, like comparing Michelangelo’s daily work on the Sistine Chapel to the quilters’ daily struggles: “Michelangelo’s Florence, even Michelangelo’s Rome, was in this way rather like Loretta Pettway’s Gee’s Bend” (166). Moreover, Bringley’s use of personal anecdotes, such as his interactions with visitors and colleagues, serves to ground his more abstract reflections, creating a sense of intimacy and authenticity.

The author’s analytical framework in these chapters is primarily experiential and introspective. Rather than relying heavily on academic art historical analysis, he focuses on his reactions to artworks and his observations of visitors’ interactions with them. This approach is evident in his reflections on the Fra Angelico Crucifixion painting, in which he intertwines his personal response with broader interpretations of the work’s meaning: “I like that the picture makes me think of Tom,” he writes, “however painful that may be” (174). This approach allows for a unique perspective on the role of art, one that is grounded in daily experience rather than theoretical abstraction and one that invites readers to consider their own relationships with art.