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     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Last Judgment china oil painting reproduction

Last Judgment
1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62913
5495 ago.
Artist: Michelangelo Buonarroti
Painting: Last Judgment
Information: 1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Martyrdom of St Peter china oil painting reproduction

Martyrdom of St Peter
1546-50 Fresco, width of detail 108 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows figures from the right side of the fresco. Artist: MICHELANGELO Buonarroti Title: Martyrdom of St Peter (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62911
5496 ago.
Artist: Michelangelo Buonarroti
Painting: Martyrdom of St Peter
Information: 1546-50 Fresco, width of detail 108 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows figures from the right side of the fresco. Artist: MICHELANGELO Buonarroti Title: Martyrdom of St Peter (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Entombment china oil painting reproduction

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
Painting ID::  62905
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Entombment
Information: 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

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Last Judgment china oil painting reproduction

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
Painting ID::  62904
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Last Judgment
Information: 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

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti The Brazen Serpent china oil painting reproduction

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
Painting ID::  62903
5497 ago.
Artist: Michelangelo Buonarroti
Painting: The Brazen Serpent
Information: 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

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti The Brazen Serpent china oil painting reproduction

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
Painting ID::  62902
5497 ago.
Artist: Michelangelo Buonarroti
Painting: The Brazen Serpent
Information: 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

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Punishment of Haman china oil painting reproduction

Punishment of Haman
Fresco Cappella Sistina, Vatican On the right of the pendentive, the king sends Haman to provide royal apparel for Mordecai, who is sitting at the king's door. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62901
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Punishment of Haman
Information: Fresco Cappella Sistina, Vatican On the right of the pendentive, the king sends Haman to provide royal apparel for Mordecai, who is sitting at the king's door. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Punishment of Haman china oil painting reproduction

Punishment of Haman
1511 Fresco Cappella Sistina, Vatican On the left of the pendentive, Esther reveals Haman's plot to Ahasueras. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62900
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Punishment of Haman
Information: 1511 Fresco Cappella Sistina, Vatican On the left of the pendentive, Esther reveals Haman's plot to Ahasueras. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Ancestors of Christ: figures china oil painting reproduction

Ancestors of Christ: figures
1511 Fresco, 240 x 340 cm Cappella Sistina, Vatican The figures are in the triangular spandrel in the eighth bay between the Libyan Sibyl and Daniel. The spandrel is above the Jesse-David-Solomon lunette. The absolute immobility of the enigmatic figure depicted frontally provides a triking contrast to the activity of the woman in the opposite spandrel. Placed precisely on the axis of the triangle, she appears to be deep in meditation and totally extraneous to the two figures - a man and a child - that may be discerned behind her in the darkness. In accordance with the lunette below, it can be assumed that Jesse as a child is depicted here together with his parents. The bronze nudes, with their backs turned toward the viewer, seem to be looking upward, like those above the opposit spandrel. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious
Painting ID::  62899
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Ancestors of Christ: figures
Information: 1511 Fresco, 240 x 340 cm Cappella Sistina, Vatican The figures are in the triangular spandrel in the eighth bay between the Libyan Sibyl and Daniel. The spandrel is above the Jesse-David-Solomon lunette. The absolute immobility of the enigmatic figure depicted frontally provides a triking contrast to the activity of the woman in the opposite spandrel. Placed precisely on the axis of the triangle, she appears to be deep in meditation and totally extraneous to the two figures - a man and a child - that may be discerned behind her in the darkness. In accordance with the lunette below, it can be assumed that Jesse as a child is depicted here together with his parents. The bronze nudes, with their backs turned toward the viewer, seem to be looking upward, like those above the opposit spandrel. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Ancestors of Christ: figures china oil painting reproduction

Ancestors of Christ: figures
1509 Fresco, 245 x 340 cm Cappella Sistina, Vatican The figures are in the trianglar spandrel in the second bay between Joel and the Erythraean Sibyl. The spandrel is above the Zerubbabel-Abiud-Eliakim lunette. It is generally believed that Zerubbabel is depicted here, together with his parents and a brother. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious
Painting ID::  62898
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Ancestors of Christ: figures
Information: 1509 Fresco, 245 x 340 cm Cappella Sistina, Vatican The figures are in the trianglar spandrel in the second bay between Joel and the Erythraean Sibyl. The spandrel is above the Zerubbabel-Abiud-Eliakim lunette. It is generally believed that Zerubbabel is depicted here, together with his parents and a brother. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti David and Goliath china oil painting reproduction

David and Goliath
1509 Fresco Cappella Sistina, Vatican A sheet of light descends from David's shoulder along the sleeve of his tunic (painted smalt-blue with lime-white reflections) to the head of Goliath, who is sprawled on the ground, stressing his centrality to the composition and highlighting the dramatic violence of the action. The composition was carefully planned in order to neutralize, as far as possible, the irregular shape of the field, dramatically forcing the predominant line of sight by means of the bold foreshortening of the two figures and the luminous convexity of the white tent, modeled with violet shadows. In the foreground, toward the lower vertex of the triangle, David's sling, lying on the ground, constitutes the starting point of the projection of the perspective along the central axis of the composition. Artist: MICHELANGELO Buonarroti Title: David and Goliath (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62896
5497 ago.
Artist: Michelangelo Buonarroti
Painting: David and Goliath
Information: 1509 Fresco Cappella Sistina, Vatican A sheet of light descends from David's shoulder along the sleeve of his tunic (painted smalt-blue with lime-white reflections) to the head of Goliath, who is sprawled on the ground, stressing his centrality to the composition and highlighting the dramatic violence of the action. The composition was carefully planned in order to neutralize, as far as possible, the irregular shape of the field, dramatically forcing the predominant line of sight by means of the bold foreshortening of the two figures and the luminous convexity of the white tent, modeled with violet shadows. In the foreground, toward the lower vertex of the triangle, David's sling, lying on the ground, constitutes the starting point of the projection of the perspective along the central axis of the composition. Artist: MICHELANGELO Buonarroti Title: David and Goliath (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
     Artist: Michelangelo Buonarroti
Michelangelo Buonarroti Judith and Holofernes china oil painting reproduction

Judith and Holofernes
1509 Fresco Cappella Sistina, Vatican In the fresco, almost in the center and nearest to the viewer, the figures of the two women stand out in the bright light against the white wall placed obliquely in the background. Judith is portrayed as she is about to place a cloth over the severed head of Holofernes, which the maidservant is carrying in a tray held on her head. The biblical heroine's face is hidden because she is looking toward the darkened room on the right where, sprawled on the white sheets of the bed, the headless body of the general, depicted with complex foreshortening, appears still to be in a state of frenzied agitation. Judith and the maidservant form a compact group that is given prominence by strong contrasts and passages of very bright colours: the smalt-blue of Judith's bonnet and dress and the yellow of the borders and oversleeve; the delicate green, with rose-white reflections, of the tunic and the crimson of the belt and sash, repeated with darker tones in the maidservant's tunic, which is lined with deep violet that stands out against the yellow with iridescent greenish shadows of the dress. Artist: MICHELANGELO Buonarroti Title: Judith and Holofernes (detail) Date: 1501-1550 Italian , painting : religious
Painting ID::  62895
5497 ago.
Artist: Michelangelo Buonarroti
Painting: Judith and Holofernes
Information: 1509 Fresco Cappella Sistina, Vatican In the fresco, almost in the center and nearest to the viewer, the figures of the two women stand out in the bright light against the white wall placed obliquely in the background. Judith is portrayed as she is about to place a cloth over the severed head of Holofernes, which the maidservant is carrying in a tray held on her head. The biblical heroine's face is hidden because she is looking toward the darkened room on the right where, sprawled on the white sheets of the bed, the headless body of the general, depicted with complex foreshortening, appears still to be in a state of frenzied agitation. Judith and the maidservant form a compact group that is given prominence by strong contrasts and passages of very bright colours: the smalt-blue of Judith's bonnet and dress and the yellow of the borders and oversleeve; the delicate green, with rose-white reflections, of the tunic and the crimson of the belt and sash, repeated with darker tones in the maidservant's tunic, which is lined with deep violet that stands out against the yellow with iridescent greenish shadows of the dress. Artist: MICHELANGELO Buonarroti Title: Judith and Holofernes (detail) Date: 1501-1550 Italian , painting : religious

 

 

 
 

 

 

 
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