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 Achim Eliud oil painting


Achim Eliud
1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Zadok begat Achim. Achim begat Eliud. Eliud begat Eliazar." (Matthew 1:14-15) This is the first lunette on the south wall. The identity of the figures is not certain, and it is not possible to establish which of the two, Achim or Eliud, is the old man with a child next to him on the left, and which the child held by his mother on the right. The elaborate pose of the old man is very carefully constructed with vigorous twisting of the limbs. The sculptural effect of the figure is largely due to the prominence of the knees and the crossed arms, with the right elbow projecting notably and the hands folded in toward the body. This effect is heightened by the magnificent arrangement of the drapery, especially on the left knee and over the edge of the stone seat. The meditative attitude of the old man is counterbalanced on the other side of the lunette by the fascinating spontaneity of the woman's gestures. Turning toward her child, she stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud , 1501-1550 Painting Style: Italian , , religious
Painting ID::  62937 		Michelangelo Buonarroti
Achim Eliud
1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Zadok begat Achim. Achim begat Eliud. Eliud begat Eliazar." (Matthew 1:14-15) This is the first lunette on the south wall. The identity of the figures is not certain, and it is not possible to establish which of the two, Achim or Eliud, is the old man with a child next to him on the left, and which the child held by his mother on the right. The elaborate pose of the old man is very carefully constructed with vigorous twisting of the limbs. The sculptural effect of the figure is largely due to the prominence of the knees and the crossed arms, with the right elbow projecting notably and the hands folded in toward the body. This effect is heightened by the magnificent arrangement of the drapery, especially on the left knee and over the edge of the stone seat. The meditative attitude of the old man is counterbalanced on the other side of the lunette by the fascinating spontaneity of the woman's gestures. Turning toward her child, she stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud , 1501-1550 Painting Style: Italian , , religious
   
   
     
Michelangelo Buonarroti Achim Eliud oil painting


Achim Eliud
1511-12 Fresco Cappella Sistina, Vatican Turning toward her child, the young woman stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud (detail) , 1501-1550 Painting Style: Italian , , religious
Painting ID::  62938 		Michelangelo Buonarroti
Achim Eliud
1511-12 Fresco Cappella Sistina, Vatican Turning toward her child, the young woman stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud (detail) , 1501-1550 Painting Style: Italian , , religious
   
   
     
Michelangelo Buonarroti Azor Zadok oil painting


Azor Zadok
1511-12 Fresco Cappella Sistina, Vatican "Eliakim begat Azor. Azor begat Zadok. Zadok begat Achim." (Matthew 1:13-14) This is the first lunette on the north wall. The absence of information regarding the figures represented has thwarted any attempt to identify them. On the left a seated woman is shown indicating something outside the lunette to a boy (or a girl) who seems to be engrossed in writing or drawing and turns somewhat hesitantly. The woman's pose, with its great naturalness and self-possession, is a variation on the twisted head, shoulders, and legs of the other figures. On the other side of the lunette, seen sideways on, but with his head turned toward the viewer, sits a solitary mature man, his face furrowed by deep lines. Tightly wrapped in his yellow ochre mantle, from which only his head and an arm emerge, he appears to be prey to distressing thoughts. The body, modelled concisely with great plastic power by the interplay of light and shade, and the pattern of the folds of the mantle, stands out clearly against the background. The number of figures present in this lunette is half that of the first lunettes painted by Michelangelo. This sense of isolation intensifies the expressive power of the figure of the pensive man, which some interpreted as being an imaginary self-portrait of the artist. Artist: MICHELANGELO Buonarroti Painting Title: Azor - Zadok , 1501-1550 Painting Style: Italian , , religious
Painting ID::  62939 		Michelangelo Buonarroti
Azor Zadok
1511-12 Fresco Cappella Sistina, Vatican "Eliakim begat Azor. Azor begat Zadok. Zadok begat Achim." (Matthew 1:13-14) This is the first lunette on the north wall. The absence of information regarding the figures represented has thwarted any attempt to identify them. On the left a seated woman is shown indicating something outside the lunette to a boy (or a girl) who seems to be engrossed in writing or drawing and turns somewhat hesitantly. The woman's pose, with its great naturalness and self-possession, is a variation on the twisted head, shoulders, and legs of the other figures. On the other side of the lunette, seen sideways on, but with his head turned toward the viewer, sits a solitary mature man, his face furrowed by deep lines. Tightly wrapped in his yellow ochre mantle, from which only his head and an arm emerge, he appears to be prey to distressing thoughts. The body, modelled concisely with great plastic power by the interplay of light and shade, and the pattern of the folds of the mantle, stands out clearly against the background. The number of figures present in this lunette is half that of the first lunettes painted by Michelangelo. This sense of isolation intensifies the expressive power of the figure of the pensive man, which some interpreted as being an imaginary self-portrait of the artist. Artist: MICHELANGELO Buonarroti Painting Title: Azor - Zadok , 1501-1550 Painting Style: Italian , , religious
   
   
     
Michelangelo Buonarroti Tomb of Giuliano de' Medici oil painting


Tomb of Giuliano de' Medici
1526-33 Marble, 630 x 420 cm Sagrestia Nuova, San Lorenzo, Florence Michelangelo received the commission for the Medici Chapel in 1520 from the Medici Pope Leo X (1513-23). The Pope wanted to combine the tombs of his younger brother Giuliano, Duke of Nemours, and his nephew Lorenzo, Duke of Urbino, with those of the "Magnifici", Lorenzo and his brother Giuliano, who had been murdered in 1478; their tombs were then in the Old Sacristy of San Lorenzo. The plans for the chapel which we still have, shows us that the Pope allowed Michelangelo a great freedom in his task. Not much of this vast plan was in fact carried out, yet it is enough to give us an idea of what Michelangelo's overall conception must have been. Each of the Dukes' tombs is divided into two areas, and the border is well marked by a projecting cornice. In the lower part are the sarcophagi with the mortal remains of the Dukes, on which lie Twilight and Dawn, Night and Day as the symbol of the vanity of things. Above this temporal area, the nobility of the figures of the Dukes and the subtlety of the richly decorated architecture which surrounds them represent a higher sphere: the abode of the free and redeemed spirit. Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici , 1501-1550
Painting ID::  63011 		Michelangelo Buonarroti
Tomb of Giuliano de' Medici
1526-33 Marble, 630 x 420 cm Sagrestia Nuova, San Lorenzo, Florence Michelangelo received the commission for the Medici Chapel in 1520 from the Medici Pope Leo X (1513-23). The Pope wanted to combine the tombs of his younger brother Giuliano, Duke of Nemours, and his nephew Lorenzo, Duke of Urbino, with those of the "Magnifici", Lorenzo and his brother Giuliano, who had been murdered in 1478; their tombs were then in the Old Sacristy of San Lorenzo. The plans for the chapel which we still have, shows us that the Pope allowed Michelangelo a great freedom in his task. Not much of this vast plan was in fact carried out, yet it is enough to give us an idea of what Michelangelo's overall conception must have been. Each of the Dukes' tombs is divided into two areas, and the border is well marked by a projecting cornice. In the lower part are the sarcophagi with the mortal remains of the Dukes, on which lie Twilight and Dawn, Night and Day as the symbol of the vanity of things. Above this temporal area, the nobility of the figures of the Dukes and the subtlety of the richly decorated architecture which surrounds them represent a higher sphere: the abode of the free and redeemed spirit. Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici , 1501-1550
   
   
     
Michelangelo Buonarroti Tomb of Giuliano de' Medici oil painting


Tomb of Giuliano de' Medici
1526-33 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici (detail) , 1501-1550
Painting ID::  63012 		Michelangelo Buonarroti
Tomb of Giuliano de' Medici
1526-33 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici (detail) , 1501-1550
   
   
     
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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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