Exhibition catalogue: Florence, Palazzo Vecchio, Sala dei Gigli, Sala della Cancelleria - San Firenze Compound, Sala della Musica, 16 April-27 July 2014. Exhibiting Jackson Pollock in Florence and comparing him to Michelangelo is the challenge that the exhibition authors and curators Sergio Risaliti and Francesca Campana Comparini have launched to bring under scrutiny two distant, and yet, antithetical languages. One originates in drawing that with all of its strength attempts to respect the order of nature and of the divine. The other is based in the phenomenology of the unconscious and mystical geometry, the perfect representation of an expanding universe. What Michelangelo and Pollock shared was the inspired frenzy they both transmitted as they worked, a sort of agonistic trance that rendered them extraneous to the outer world. Already in the XVI century, the expression, fury of the figure was coined to describe the serpentine lines of several of Buonarroti's figures, often characterised by his non-finito technique, a formal approach that expressively exalts the conflict between perfect beauty and the bulk of the unformed. In Pollock, the guiding concept adopted in the exhibition is instead that of the ''figure of the fury'', an idea that defines the vital, violent and powerful painting of the American artist whose drip-paintings astonished many of his contemporaries, just as Michelangelo's prodigious Last Judgement had amazed his contemporaries in the XVI century. Strongly desired by the Assessorato alla Cultura e Contemporaneità (Department of Culture) of the City of Florence, the exhibition project is divided into two sections. In Palazzo Vecchio, home of Michelangelo's world-famous Genius of Victory, the Sala dei Gigli and Sala della Cancelleria host the first section: a series of works of art from museums and private collections in Tel Aviv, Amsterdam, Rome, and New York, in addition to six early drawing by Pollock on exceptional loan from the Metropolitan Museum of New York. These drawings represent the indisputable proof of the American artist's interest in the energy and grace incarnated in the nude bodies of the Sistine Chapel. The second section, hosted in the complex of San Firenze, is characterised by an interactive area and by multimedia and educational apparatuses that guide the visitor to a new way to experience art and comprehend the work of great artists like Pollock. Sound recordings and film footage help understand how the great American artist executed his paintings, and propose more comparisons between Pollock's work and that of Michelangelo. Everything contributes to allow the visitor to live the experience of the ''Creation'', exploring ''fury'' insearch of a plausible point of contact between two titans of Western art.