Michelangelo Buonarroti

b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).
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Michelangelo Buonarroti The Brazen Serpent oil


The Brazen Serpent
Painting ID::  62902 		The Brazen Serpent
1511 Fresco, 585 x 985 cm Cappella Sistina, Vatican The scenes painted in the pendentives at the sides of prophet Jonah are characterized by the use of pronounced foreshortening. This is the case with the tangled group of Israelites who, in the scene of the Brazen Serpent, writhe in the throes of death, and, above all, with the crucified figure of Haman in the Punishment of Haman. In the Brazen Serpent, the mass of bodies poisoned by the snakes occupies the whole of the right part, spreading toward the center. The survivors are grouped on the left, eyes and arms turned imploringly toward the salvafic image of the brazen serpent. The cruel punishment of the Israelites for having spoken against God and Moses occupies a large part of the pendentive, with bodies intertwined in an indescribable tangle. This presented the artist with an opportunity for virtuosic foreshortening and twisting of the bodies, and also depicting contorted, screaming faces. Much admired by Vasari, the group is a striking forerunner of the spectacular motifs that were, in the following decades, typical of the current of Mannerism comprising Giulio Romano and Vasari himself. The Biblical story (Num. 21 :4-9) The Israelites, discontented with life in the desert, spoke out against God and Moses. They were punished with a plague of poisonous snakes which only increased their hardships. Many died of snakebite. When the people repented, Moses sought God's advice how they should be rid of the snakes. He was told to make an image of one and set it on a pole. Whoever was bitten would be cured when he looked upon the image. Moses accordingly made a serpent of brass on a tau-shaped (T) pole, which proved to have a miraculous curative effect. Representation in Art The Israelites are depicted writhing on the ground, their limbs entwined by snakes. Moses, sometimes with Aaron, stands beside the brazen serpent. John's gospel furnishes the typological parallel: 'This Son of Man must be lifted up as the serpent was lifted up by Moses in the wilderness.' Medieval art juxtaposed the subject with the serpent in the Garden of Eden entwining the Tree of Knowledge. Both probably derive from an ancient and widespread fertility image, the 'asherah', associated with the worship of Astarte, which consisted of a snake and a tree representing respectively the male and female elements. King Hezekiah destroyed the asherah, by inference the one made by Moses, at a time when the Israelites were relapsing into idolatry (II Kings 18:4). The presence and the identification of Moses in Michelangelo's fresco is debated. Artist: MICHELANGELO Buonarroti Title: The Brazen Serpent Date: 1501-1550 Italian , painting : religious
   
   
     
Michelangelo Buonarroti The Brazen Serpent oil


The Brazen Serpent
Painting ID::  62903 		The Brazen Serpent
1511 Fresco Cappella Sistina, Vatican The cruel punishment of the Israelites for having spoken against God and Moses occupies a large part of the pendentive, with bodies intertwined in an indescribable tangle. This presented the artist with an opportunity for virtuosic foreshortening and twisting of the bodies, and also depicting contorted, screaming faces. Artist: MICHELANGELO Buonarroti Title: The Brazen Serpent (detail) Date: 1501-1550 Italian , painting : religious
   
   
     
Michelangelo Buonarroti Last Judgment oil


Last Judgment
Painting ID::  62904 		Last Judgment
1370 x 1220 cm Cappella Sistina, Vatican This fresco was commissioned by Pope Clement VII (1523-1534) shortly before his death. His successor, Paul III Farnese (1534-1549), forced Michelangelo to a rapid execution of this work, the largest single fresco of the century. The first impression we have when faced with the Last Judgment is that of a truly universal event, at the centre of which stands the powerful figure of Christ. His raised right hand compels the figures on the lefthand side, who are trying to ascend, to be plunged down towards Charon and Minos, the Judge of the Underworld; while his left hand is drawing up the chosen people on his right in an irresistible current of strength. Together with the planets and the sun, the saints surround the Judge, confined into vast spacial orbits around Him. For this work Michelangelo did not choose one set point from which it should be viewed. The proportions of the figures and the size of the groups are determined, as in the Middle Ages, by their single absolute importance and not by their relative significance. For this reason, each figure preserves its own individuality and both the single figures arid the groups need their own background. The figures who, in the depths of the scene, are rising from their graves could well be part of the prophet Ezechiel's vision. Naked skeletons are covered with new flesh, men dead for immemorable lengths of time help each other to rise from the earth. For the representation of the place of eternal damnation, Michelangelo was clearly inspired by the lines of the Divine Comedy: Charon the demon, with eyes of glowing coal/Beckoning them, collects them all,/Smites with his oar whoever lingers. According to Vasari, the artist gave Minos, the Judge of the Souls, the semblance of the Pope's Master of Ceremonies, Biagio da Cesena, who had often complained to the Pope about the nudity of the painted figures. We know that many other figures, as well, are portraits of Michelangelo's contemporaries. The artist's self-portrait appears twice: in the flayed skin which Saint Bartholomew is carrying in his left-hand, and in the figure in the lower left hand corner, who is looking encouragingly at those rising from their graves. The artist could not have left us clearer evidence of his feeling towards life and of his highest ideals. The painting is a turning point in the history of art. Vasari predicted the phenomenal impact of the work: "This sublime painting", he wrote, "should serve as a model for our art. Divine Providence has bestowed it upon the world to show how much intelligence she can deal out to certain men on earth. The most expert draftsman trembles as he contemplates these bold outlines and marvellous foreshortenings. In the presence of this celestial work, the senses are paralysed, and one can only wonder at the works that came before and the works that shall come after". Artist: MICHELANGELO Buonarroti Title: Last Judgment Date: 1501-1550 Italian , painting : religious
   
   
     
Michelangelo Buonarroti Entombment oil


Entombment
Painting ID::  62905 		Entombment
1510 Tempera on wood, 159 x 149 cm National Gallery, London Both the attribution and the datation is doubtful. It is probable that the painting was executed by a pupil of Michelangelo with the active participation of the master. Artist: MICHELANGELO Buonarroti Title: Entombment Date: 1501-1550 Italian , painting : religious
   
   
     
Michelangelo Buonarroti Study oil


Study
Painting ID::  62906 		Study
1525 Ink Casa Buonarroti, Florence The picture shows a study for the fortifications of Porta del Prato in Florence. Artist: MICHELANGELO Buonarroti Title: Study Date: 1501-1550 Italian , graphics : study
   
   
     
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     Michelangelo Buonarroti
     b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).

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