|
|
|
| | | Prev Artist Next Artist
|
|
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).
|
|
|
|
|
| Click Image to Enlarge |
St Proculus
1494 Marble, height: 58,5 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Proculus which echoes Masaccio and Donatello. (The companion statue of St Petronius testifies to Michelangelo's studies of Donatello and Jacopo della Quercia.) Artist: MICHELANGELO Buonarroti Painting Title: St Proculus , 1501-1550 Painting Style: Italian , sculpture Type: religious
Painting ID:: 63025
|
|
|
St_Proculus
1494 Marble, height: 58,5 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Proculus which echoes Masaccio and Donatello. (The companion statue of St Petronius testifies to Michelangelo's studies of Donatello and Jacopo della Quercia.) Artist: MICHELANGELO Buonarroti Painting Title: St Proculus , 1501-1550 Painting Style: Italian , sculpture Type: religious
|
|
|
|
| Click Image to Enlarge |
Madonna and Child with the Infant Baptist
1505-06 Marble, diameter: 82,5 cm The Royal Academy of Arts, London This tondo explores the problems of composing a meaningful group within a circle, with a precise definition of the spatial planes and relationships within the picture space. The Doni Tondo, his only finished panel painting, and another marble relief, the Pitti Tondo deal with the same problems. Artist: MICHELANGELO Buonarroti Painting Title: Madonna and Child with the Infant Baptist (Taddei Tondo) , 1501-1550 Painting Style: Italian , sculpture Type: religious
Painting ID:: 63026
|
|
|
Madonna_and_Child_with_the_Infant_Baptist
1505-06 Marble, diameter: 82,5 cm The Royal Academy of Arts, London This tondo explores the problems of composing a meaningful group within a circle, with a precise definition of the spatial planes and relationships within the picture space. The Doni Tondo, his only finished panel painting, and another marble relief, the Pitti Tondo deal with the same problems. Artist: MICHELANGELO Buonarroti Painting Title: Madonna and Child with the Infant Baptist (Taddei Tondo) , 1501-1550 Painting Style: Italian , sculpture Type: religious
|
|
|
|
| Click Image to Enlarge |
Bacchus
1497 Marble, height: 203 cm Museo Nazionale del Bargello, Florence At the age of 21 Michelangelo went to Rome for the first time. We still possess two of the works he created in this period (Bacchus and Piet?; others must have been lost for he spent five years there. The statue of Bacchus was commissioned by the banker Jacopo Galli for his garden and he wanted it fashioned after the models of the ancients. The body of this drunken and staggering god gives an impression of both youthfulness and of femininity. Vasari says that this strange blending of effects is the characteristic of the Greek god Dionysus. But in Michelangelo's experience, sensuality of such a divine nature has a drawback for man: in his left hand the god holds with indifference a lionsksin, the symbol of death, and a bunch of grapes, the symbol of life, from which a Faun is feeding. Thus we are brought to realize, in a sudden way, what significance this miracle of pure sensuality has for man: living only for a short while he will find himself in the position of the faun, caught in the grasp of death, the lionskin. The statue was transferred to Florence in 1572. Artist: MICHELANGELO Buonarroti Painting Title: Bacchus , 1501-1550 Painting Style: Italian , sculpture Type: mythological
Painting ID:: 63029
|
|
|
Bacchus
1497 Marble, height: 203 cm Museo Nazionale del Bargello, Florence At the age of 21 Michelangelo went to Rome for the first time. We still possess two of the works he created in this period (Bacchus and Piet?; others must have been lost for he spent five years there. The statue of Bacchus was commissioned by the banker Jacopo Galli for his garden and he wanted it fashioned after the models of the ancients. The body of this drunken and staggering god gives an impression of both youthfulness and of femininity. Vasari says that this strange blending of effects is the characteristic of the Greek god Dionysus. But in Michelangelo's experience, sensuality of such a divine nature has a drawback for man: in his left hand the god holds with indifference a lionsksin, the symbol of death, and a bunch of grapes, the symbol of life, from which a Faun is feeding. Thus we are brought to realize, in a sudden way, what significance this miracle of pure sensuality has for man: living only for a short while he will find himself in the position of the faun, caught in the grasp of death, the lionskin. The statue was transferred to Florence in 1572. Artist: MICHELANGELO Buonarroti Painting Title: Bacchus , 1501-1550 Painting Style: Italian , sculpture Type: mythological
|
|
|
|
| Click Image to Enlarge |
Christ Carrying the Cross
1521 Marble, height 205 cm Santa Maria sopra Minerva, Rome In this work, as in the 1499 Piet? Michelangelo did not portray pain as redemption in the medieval way, but perfect beauty as the expression of its consequence. Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross , 1501-1550 Painting Style: Italian , sculpture Type: religious
Painting ID:: 63030
|
|
|
Christ_Carrying_the_Cross
1521 Marble, height 205 cm Santa Maria sopra Minerva, Rome In this work, as in the 1499 Piet? Michelangelo did not portray pain as redemption in the medieval way, but perfect beauty as the expression of its consequence. Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross , 1501-1550 Painting Style: Italian , sculpture Type: religious
|
|
|
|
| Click Image to Enlarge |
Christ Carrying the Cross
1521 Marble Santa Maria sopra Minerva, Rome Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious
Painting ID:: 63031
|
|
|
Christ_Carrying_the_Cross
1521 Marble Santa Maria sopra Minerva, Rome Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious
|
|
|
| Prev Artist Next Artist
|
|
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).
|
|
|
ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
|
|
Wholesale China Oil Painting Wholesale Oil Painting China Xiamen Portrait Reproduction on canvas Chinese Oil Painting Wholesale
|
|
|
|
|
