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Study of a Head
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Study_of_a_Head
1530 Red chalk, 33,5 x 26,9 cm Casa Buonarroti, Florence Michelangelo seems to have conceived only one erotic painting involving a woman, the Leda and the Swan. The painting is lost, only this very fine read chalk study of a head has survived. Artist: MICHELANGELO Buonarroti Title: Study of a Head Date: 1501-1550 Italian , graphics : study
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The Fall of Phaeton
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The_Fall_of_Phaeton
1533 Chalk British Museum, London In Greek mythology Phaeton was the son of Helios, the sun-god. Helios drove his golden chariot, a 'quadriga' yoked to a team of four horses abreast, daily across the sky. Phaeton persuaded his unwilling father to allow him for one day to drive his chariot across the skies. Because he had no skill he was soon in trouble, and the climax came when he met the fearful Scorpion of the zodiac. He dropped the reins, the horses bolted and caused the earth itself to catch fire. In the nick of time Jupiter, father of the goods, put a stop to his escapade with a thunderbolt which wrecked the chariot and sent Phaeton hurtling down in flames into the River Eridanus (according to some, the Po). He was buried by nymphs. Phaetons's reckless attempt to drive his father's chariot made him the symbol of all who aspire to that which lies beyond their capabilities. The fall of Phaeton was a popular theme, common in Renaissance and Baroque painting, especially on ceilings in the later period. Phaeton, the chariot, and four horses, reins flying, all tumble headlong out of the sky. Above, Jupiter throws a thunderbolt. Artist: MICHELANGELO Buonarroti Title: The Fall of Phaeton Date: 1501-1550 Italian , graphics : religious
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View of the Chapel
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View_of_the_Chapel
Palazzi Pontifici, Vatican Between 1537 and 1540, Antonio da Sangallo the Younger built the Pauline Chapel in the Vatican, as Pope's (Paul III) private chapel. In 1541 Michelangelo was asked to decorate the central parts of the two longer walls with two frescoes. The first, The Conversion of Saint Paul, was begun in 1542; the second, the Martyrdom of St Peter, was painted between 1546 and 1550. Before this, no one had ever attempted to place these two themes next to each other. Michelangelo portrays what is by this time his plan of life: death for the faith must follow conversion and be its confirmation. To Paul, who has fallen and has been forced to shut his eyes because of the brilliance of divine light, he gives his own face and makes Peter, nailed to the cross, in the supreme tension of the last moment of life, forcefully look at the spectator. Artist: MICHELANGELO Buonarroti Title: View of the Chapel Date: 1501-1550 Italian , painting : other
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Plan for a Church
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Plan_for_a_Church
. 1560 Ink Casa Buonarroti, Florence During the last ten years of his life Michelangelo mainly drew plans for new buildings and perhaps for further sculpture. After his reconciliation with Cosimo de' Medici, he designed new plans for San Giovanni dei Fiorentini in Florence. Artist: MICHELANGELO Buonarroti Title: Plan for a Church Date: 1501-1550 Italian , graphics : study
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Martyrdom of St Peter
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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
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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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