Where to see the works of Leonardo. Divine Michelangelo

Portrait of Michelangelo by Daniele da Volterra

Michelangelo di Lodovico Buonarroti Simoni(March 6, 1475–February 18, 1564), commonly known as Michelangelo, was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who had an unparalleled influence on the development of Western art. Despite attempts to go beyond art, his versatility in the disciplines in which he practiced had such a high degree, which is often considered a contender for the title of the prototype of the Renaissance man, along with his Italian counterpart Leonardo da Vinci.

Michelangelo was considered the finest contemporary artist of his time, and since then one of the greatest artists of all time. Many of his works in painting, sculpture and architecture are among the most famous of the existing ones. The result of his work in every field over a long life is incredible. Given the sheer volume of correspondence, sketches, and notes that have survived, Michelangelo is the most documented artist of the 16th century.

Two of his most famous creations, Pieta and David, were created by Michelangelo before he was thirty. Despite his low opinion of painting, Michelangelo also painted two of the most influential frescoes in the history of Western art: the Genesis scene on the ceiling and the Last Judgment on the altar wall in Sistine Chapel in Rome. As an architect, he laid the foundation for Mannerism in the Laurenzian Library. At the age of 74, Michelangelo became the successor of Antonio da Sangallo the Younger, one of the creators of St. Peter's Basilica. He changed the plan, the western part was completed according to the project of Michelangelo, and the dome was completed after his death with some changes.

Pieta (Pieta) Michelangelo in St. Peter's Basilica (1498–1499)

Demonstrating the unique position of Michelangelo, it is worth emphasizing that he was the first Western artist whose biography was published during his lifetime. Two biographies were published during his lifetime. In one of them, Giorgio Vasari noted that Michelangelo was the pinnacle of all artistic achievements since the beginning of the Renaissance. This view has remained relevant in the history of art for centuries.

During his lifetime, Michelangelo was often referred to as Il Divino ("The Divine"). One of the qualities most admired by his contemporaries was his "terribilità", a sense of grandeur that inspired awe.

Subsequent artists ate to imitate the passionate and extremely individual style master, who led to the formation of mannerism - the next mainstream in Western art after the High Renaissance.

life path

Youth (1475–1488)

Michelangelo was born on March 6, 1475 in Caprese near the province of Arezzo, Tuscany. (Today, Caprese is known as Caprese Michelangelo) For generations, his family were petty bankers. The bank went bankrupt and his father Lodovico di Leonardo Buanarroti Simoni accepted a government position in Caprese. At the time of Michelangelo's birth, his father was a magistrate in Caprese and a local official in Chiusi. Michelangelo's mother is Francesca di Neri del Miniato di Siena. The Buanarroti family claimed to be descended from Countess Mathilde di Canossa. This claim remains unproven, however, Michelangelo himself believed in it. A few months after Michelangelo's birth, the family returned to Florence, where he grew up.

Later, during his mother's illness and after her death in 1481, when he was only six years old, Michelangelo lived with a stonemason and his wife and family in Settignano, where his father owned a marble quarry and a small farm. Giorgio Vasari quotes Michelangelo: “If there is anything good in me, it is only because I was born in the refined atmosphere of Arezzo. Together with my mother's milk, I received the ability to handle a chisel and a hammer, with which I carve statues.

Period of study (1488–1492)

As a boy, Michelangelo was sent to Florence to study grammar under the humanist Francesco da Urbino. The young artist, however, showed no interest in learning, preferring to copy paintings from churches and seek the company of painters.

Madonna of the Steps Michelangelo's earliest work

At that time, Florence was the largest center of art and learning in Italy. The signoria (city council), merchant guilds, wealthy patrons such as the Medici and their banking partners supported the arts. The Renaissance, the renewal of classical science and art, had its first flowering in Florence. At the beginning of 1400, the architect Brunelleschi studied the ruins of classical buildings in Rome and created two churches, San Lorenzo and Santo Spirito, in which he embodied classical principles. The sculptor Lorenzo Ghiberti labored for fifty years to create the bronze doors of the Baptistery, which Michelangelo described as the "Gates of Paradise". The exterior niches of the Church of Orsanmichele contain a gallery of works by the greatest sculptors of Florence: Donatello, Ghiberti, Verrocchio and Nanni di Banco. Mostly the interiors of old churches are covered with frescoes in the style Late Middle Ages And Early Renaissance, from Giotto to Masaccio in the Brancacci Chapel, Michelangelo studied and copied both of these works in drawings. During Michelangelo's childhood, a team of artists was called from Florence to the Vatican to decorate the walls of the Sistine Chapel. Among them was Domenico Ghirlandaio, a master of fresco technique, perspective, drawing and portraiture. During that period, he had the largest workshop in Florence.

In 1488, at the age of thirteen, Michelangelo was sent to study with Ghirlandaio. When he was only fourteen, his father persuaded Ghirlandaio to pay for his studies by working with Michelangelo as an artist, which was very unusual for that time. When, in 1489, Lorenzo de' Medici, the de facto ruler of Florence, asked Ghirlandaio about his two best students, Ghirlandaio sent Michelangelo and Francesco Granacci. From 1490 to 1492, Michelangelo entered the Academy of Humanism, which was founded by the Medici together with the direction of the Neoplatonists. At the academy, both Michelangelo's worldview and his art were influenced by many of the most famous philosophers and writers of the day, including Marsilio Ficino, Pico della Mirandola, and Poliziano. At this time, Michelangelo carved the reliefs of the Madonna at the Stairs (1490-1492) and the Battle of the Centaurs (1491-1492). The latter is based on a theme suggested by Politian and commissioned by Lorenzo de' Medici. Michelangelo worked for some time on the sculpture of Bertoldo di Giovanni. When he was seventeen years old, another student, Pietro Torrigiano, hit him on the nose, causing the deformity that is thrown into all Michelangelo's portraits.

Bologna, Florence and Rome (149 - 1499)

The death of Lorenzo de' Medici on April 8, 1492 brought about a change in Michelangelo's circumstances. He left the safety of the Medici court and returned to his father's house. In the following months, he carved a polychrome wooden Crucifixion (1493), as a gift to the rector of the Florentine church of Santo Spirito, which allowed him some time to study anatomy on cadavers in the hospital of the church. Between 1493 and 1494 Michelangelo bought a piece of marble and carved a larger than life size statue of Hercules which was sent to France and then disappeared around the 18th century. On January 20, 1494, after heavy snowfalls, Lorenzo's heir, Piero de Medici, ordered a snow statue, and Michelangelo again entered the Medici courtyard.

In the same year, the Medici were expelled from Florence as a result of Savonarola's revolt. Michelangelo left the city before the end of the political upheaval, moving to Venice and then to Bologna. In Bologna, he was commissioned to carve the last few small figures to complete the tomb of St. Dominic in the church dedicated to this saint. During this time, Michelangelo studied the difficult reliefs that Jacopo della Quercia carved around the main entrance of the Basilica of San Petronio, including the Creation of Eve fresco, a composition revived on the ceiling of the Sistine Chapel. At the end of 1494, the political situation in Florence became calmer. The city, previously under threat from the French, was already safe, since Charles VIII had been defeated. Michelangelo returned to Florence, but did not receive an order from the new government of the city under Savonarola. He returned to work for the Medici. For half a year in Florence, Michelangelo worked on two statues, "Young John the Baptist" and "Sleeping Cupid". According to Condivi, Lorenzo di Pierfrancesco de' Medici, for whom Michelangelo was working on the sculpture of Saint John the Baptist, asked Michelangelo to "fix it so that it looks like it was buried" so he could "send it to Rome ... betray [her ] as an antique work and... sell for a much higher price.” Both Lorenzo and Michelangelo were deceived by an intermediary with the real cost of the work. Cardinal Rafael Riario, the one to whom the statue was sold, discovered the deception, but he was so impressed with the quality of the sculpture that he invited the artist to Rome. This apparent success in selling his sculpture abroad, like the conservatism of the Florentine situation, encouraged Michelangelo to accept the prelate's invitation.

Michelangelo arrived in Rome on June 25, 1496 at the age of 21. On July 4, the same year, he began work on a commission for Cardinal Rafael Riario, an over-life-size statue of the Roman god of wine, Bacchus. Upon completion, the cardinal rejected the work, and it subsequently entered the collection of the banker Jacopo Galli, for his garden.

In November 1497, the French ambassador of the Holy See, Cardinal Jean Bilaire de Lagrola, commissioned him to carve the Pieta, a sculpture showing the Virgin Mary mourning the body of Jesus. The theme, which is not part of the biblical account of the Crucifixion of Christ, was widely used in the religious sculpture of medieval Northern Europe and is well known to the cardinal. The agreement was agreed upon in August of the following year. By the time the sculpture was completed, Michelangelo was 24 years old. It soon came to be seen as one of the world's great sculpture masterpieces, "the full potential and power of the art of sculpture." Vasari succinctly summed up the modern opinion: "It is an absolute miracle that a shapeless piece of stone was transformed into a perfection that nature can hardly recreate in the flesh." Now it is in St. Peter's Basilica.

Florence (1499–1505)

Michelangelo returned to Florence in 1499. The republic changed after the fall of the anti-Renaissance priest and ruler of Florence, Girolamo Savonarola (executed in 1498) and the rise of the gonfalonier Piero Soderini. The consuls of the woolen guild asked him to complete an unfinished project begun 40 years ago by Agostino di Duccio, a colossal Carrara marble statue that depicted David, the symbol of Florentine freedom. It was to be placed outside the Cathedral of Florence. Michelangelo responded to the proposal by completing his most famous work, the statue of David, in 1504. The masterpiece finally consolidated his fame as a sculptor of outstanding skill and power of symbolic imagination. A team of consultants, including Botticelli and Leonardo da Vinci, were called together to decide where to place it, which eventually became Piazza della Signoria, in front of the Palazzo Vecchio. Today, the statue is in the Academy, while its exact copy takes its place in the square.

Statue of David completed by Michelangelo in 1504. One of the most famous works renaissance

With the completion of David came another order. In early 1504, Leonardo da Vinci was commissioned to depict the "Battle of Anghiari" between the forces of Florence and Milan in 1434 in the council chamber of the Palazzo Vecchio. Later, Michelangelo was entrusted with writing the Battle of Kashin. The two paintings are very different, Leonardo depicted soldiers fighting on horseback, and Michelangelo showed them being ambushed while swimming in the river. Neither work was completed and both were lost when the meeting room was restored. Both frescoes are admired and copies have been preserved. Rubens painted a copy of Leonardo's work, and Bastiano da Sangallo painted a copy of Michelangelo's.

Also during this period, Michelangelo was commissioned by Angelo Doni to paint the "Madonna Doni" (" holy family”) as a gift for his wife, Maddalena Strozzi. The product is also known as Doni Tondo and hanging in Uffizi Gallery in the original magnificent frame, which may have been created by Michelangelo. He also may have painted the "Madonna and Child with John the Baptist", known as the "Manchester Madonna", which is currently in the National Gallery in London, UK.

Ceiling of the Sistine Chapel (1505–1512)

In 1505, Michelangelo was again invited to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope's tomb, which was to include forty statues, and was completed within five years.

Under the patronage of the Pope, Michelangelo faced constant interruptions in his work on the tomb in order to complete numerous other tasks. Although Michelangelol worked on the tomb for 40 years, it was never brought to a state that would satisfy him. The tomb is located in the church of San Pietro in Vincoli in Rome and is best known for the central figure of Moses, completed in 1516. Of the other statues destined for the tomb, two known as "The Dying Slave" and "The Bound Slave" are now in the Louvre.

During the same period, Michelangelo painted the ceiling Sistine Chapel, the completion of which approximately took 4 years (1508-1512). According to Condivi's description, Donato Bramante, who was working on the building of St. Peter's, resented Michelangelo's order and persuaded the pope to entrust him with material with which he was unfamiliar, so he would fail.

Initially, Michelangelo was commissioned to depict the Twelve Apostles on triangular sails that support the ceiling, and cover the central part of the ceiling with an ornament. Michelangelo persuaded Pope Julius to give him free rein, and proposed another, more complex plan, representing the Creation of the world, the Fall, the Hope of salvation through the prophets, and the genealogy of Jesus. This work is part bigger plan decoration within the chapel, which represents a large part of the doctrine of the Catholic Church.

The work extends over an area of ​​more than 500 square meters ceiling, and contains over 300 figures. In its center are nine scenes from the Book of Genesis, divided into three groups: God's creation of the Earth; God's creation of the human race and its fall, turning away from God's grace; and, finally, the Essence of humanity in the person of Noah and his family. The sails supporting the ceiling depict twelve men and women who foretold the coming of Jesus. They were the seven prophets of Israel and the five sibyls, soothsayers of the ancient world. Among the most famous frescoes on the ceiling are The Creation of Adam, The Fall and Expulsion of Adam and Eve, The Flood, The Prophet Jeremiah and The Cum Sibyl.

Florence under the Medici popes (1513 - early 1534)

In 1513, Pope Julius II died and was succeeded by Pope Leo X, the second son of Lorenzo de' Medici. Pope Leo commissioned Michelangelo to reconstruct the façade of the Basilica of San Lorenzo in Florence and decorate it with sculptures. He reluctantly agreed, and spent three years creating drawings and models for the façade, as well as trying to open a new marble quarry in Pietrasanta specifically for the project. In 1520, the work was abruptly interrupted, before any real progress was made, due to a lack of funds from his patron. To this day, the basilica lacks a façade.

Statue of Moses for the tomb of Pope Julius II

In 1520, the Medici approached Michelangelo again with another major proposal, this time with a family funerary chapel in the Basilica of San Lorenzo. Fortunately for future generations, this project was more fully realized, and the artist was engaged in it during most of the 1520s and into the 1530s. Michelangelo designed the Medici Chapel at his own discretion. It housed the large tombs of two younger members of the Medici family, Giuliano, Duke de Nemours and Lorenzo, his nephew, but it also commemorated more famous predecessors. Lorenzo "the Magnificent" and his brother Giuliano were buried not far from them. The tombs display statues of two representatives from the Medici, and allegorical figures personify day and night, dusk and dawn. The chapel also houses the Medici Madonna by Michelangelo. In 1976, they discovered a hidden corridor with drawings on the walls, which are connected with the chapel itself.

Pope Leo X died in 1521, briefly succeeded by the ascetic Adrian VI and then by his cousin Giulio de' Medici as Pope Clement VII. In 1524, Michelangelo received an architectural commission from the Medici pope for the Laurenzian Library in Churches of San Lorenzo. He designed both the interior of the library itself and its lobby. This building uses architectural forms to such a dynamic effect that it is seen as a forerunner of the Baroque. He was left to other architects to interpret Michelangelo's plans and carry out his instructions. The library was opened in 1571, and the vestibule remained incomplete until 1904.

In 1527, the Florentine citizens, encouraged by the sack of Rome, ousted the Medici and restored the republic. The siege of the city followed, and Michelangelo went to the aid of his beloved Florence, working on the city's fortifications from 1528 to 1529. The city fell in 1530 and the Medici again came to power.

Michelangelo fell out of favor with the young Alessandro de' Medici, who was introduced as the first Duke of Florence. Fearing for his life, he fled to Rome, leaving assistants to complete the Medici Chapel and the Laurentian Library. Despite Michelangelo's support for the Republic and the resistance of the Medici authorities, Pope Clement welcomed him, paying a fee for the work that the artist had done earlier, and made him a new contract to work on the tomb of Pope Julius.

Rome (1534–1546)

In Rome, Michelangelo lived near the church of Santa Maria di Loreto. It was during this time that he met the poetess, Vittoria Colonna, Marquis of Pescara, who became one of his closest friends until her death in 1547.

Shortly before his death in 1534, Pope Clement VII ordered Michelangelo to paint the Last Judgment fresco on the altar wall of the Sistine Chapel. His successor, Paul III, played an important role in the beginning and completion of the artist's project. Michelangelo worked on the fresco from 1534 until October 1541. The fresco depicts the Second Coming of Christ and his judgment on souls. Michelangelo ignored the usual artistic traditions in the image of Jesus, and showed him young, without a beard and naked, with a massive, muscular body. He is surrounded by saints, among whom Saint Bartholomew holds a flayed skin hanging down, taking on the likeness of Michelangelo. The dead who rise from their graves will be sent to either Heaven or Hell.

After completion, the depiction of Christ and the Virgin Mary naked was considered sacrilege, and Cardinal Caraffa and Monsignor Sernini (Ambassador of Mantua) advocated the removal of the fresco or censorship, but the Pope opposed. At a meeting of the Council of Trent, shortly before Michelangelo's death in 1564, they decided to hide the genitals, and instructed Michelangelo's student, Daniele da Volterra, to make changes. A copy of the original, which has not been censored by the hand of Marcello Venusti, is in the Museo Capodimonte in Naples.

At this time, Michelangelo was working on a series architectural projects. They included the design of the Capitoline Hill, with its trapezoidal square, which would have displayed an antique bronze statue of Marcus Aurelius. He designed the upper floor of the Palazzo Farnese and the interior of the church of Santa Maria degli Angeli e dei Martiri, in which he modified the arched interior of the ancient Roman bath. Other architectural works included: the Church of San Giovanni dei Fiorentini, the Sforza Chapel (Sforza Chapel) in the Church of Santa Maria Maggiore and Porta Pia.

St. Peter's Cathedral (1546–1564)

Dome of St. Peter's Basilica,photo by Myrabella, licensed under Creative Commons Attribution-Share Alike 3.0 Unported

In 1546, Michelangelo was appointed architect of St. Peter's Basilica in Rome. The process of restoring the Basilica of Constantine of the IV century has been going on for 50 years, since in 1506 the foundation was laid for the plan of Bramante. Various architects worked successively on it, but little progress was made. Michelangelo was convinced to take over the project. He returned to Bramante's original ideas and developed them into a central plan for the church, strengthening the structure both physically and visually. The dome, completed only after his death, was called by Banister Fletcher "the greatest creation of the Renaissance."

As construction progressed at St. Peter's, there was concern that Michelangelo would pass away before he completed the dome. However, once construction began on the underside of the dome, the support ring, completion of the project became inevitable. Michelangelo died in Rome in 1564, at the age of 88 (three weeks before his 89th birthday). His body was taken from Rome for burial in the Basilica of Santa Croce, performing last will master to be buried in his beloved Florence.

On December 7, 2007, the red chalk dome of St. Peter's Basilica was discovered in the Vatican archives, perhaps the last one Michelangelo made before his death. This is an extreme rarity, since he destroyed his projects in more than late age. The sketch is a partial plan for one of the radial columns of the drum of St. Peter's dome.

Personal life

In his personal life, Michelangelo was abstinent. He once said to his student, Ascanio Condivi: "However, I may have been rich, I have always lived like a poor man." Condivi described that he was indifferent to food and drink, ate "more out of need than pleasure" and that he "often slept in clothes... boots". His biographer Paolo Giovio says: "By nature, he was so rude and uncouth, and his inner habits were incredibly miserable, which deprived the next generation of students who might have followed him." Michelangelo could not have like-minded people, since by nature he was a hermit and a melancholy person, "bizzarro e fantastico", a man who "left the company of men."

It is impossible to know for sure whether Michelangelo had a physical relationship (Condivi described him as "like a chaste monk"), but his poetry testifies to the nature of his sexuality. He wrote over 300 sonnets and madrigals. The longest sequence was written by Tommaso de Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo met him in 1532, at the age of 57. They wrote the first great sequence of poems in any modern language in which one person addresses another, predating Shakespeare's Sonnets of Bright Youth by fifty years:

A cold face burns me from afar,
But glaciation grows in him;
In two slender hands - strength without movement,
Even though each load would be small for them.

(translated by A.M. Efros)

Cavalieri replied: “I vow to return your love. I have never loved a person more than I love you, I have never wanted friendship more than I want yours. Cavalieri remained devoted to Michelangelo until his death.

In 1542, Michelangelo met Cecchino de Bracci, who, however, died a year later, inspired Michelangelo to write forty-eight mournful epigrams. Some of the objects of Michelangelo's affections, and the subjects of his poetry, deceived him to achieve their interests: the model Febo di Poggio asked for money in return for a love poem, and the second model, Gerardo Perini shamelessly stole it from him.

The figure of Ignudo from the fresco on the ceiling of the Sistine Chapel (Sistine Chapel)

The overtly homoerotic nature of poetry became a source of discomfort for later generations. Michelangelo's great-nephew, Michelangelo the Younger, published the poems in 1623 with generic pronoun changes until John Addington Symonds translated them into English language in 1893 and restored the original floor in them. Even in modern times, some scholars continue to insist that, despite the restoration of pronouns, the poems are "a dispassionate and elegant reinterpretation of the Platonic dialogue, which makes erotic poetry look like an expression of refined feelings."

Late in life, Michelangelo fed big love to the poetess and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and with whom he spent the last 40 years of her life. They wrote sonnets for each other and maintained an ongoing relationship until she died. Condivi recalls Michelangelo saying that his only regret in life was that he did not kiss the widow's face in the same manner as her hand.

Artworks

Madonna and Child

The Madonna at the Stairs is known as Michelangelo's earliest work. It is carved in fine relief, a technique often used by master sculptors of the early 15th century, Donatello and others such as Desiderio da Settignano.

Madonna of the Steps (1490-1492)

While the Madonna is in profile, the simplest aspect of shallow relief, the child displays the rotational movements that have become a characteristic feature of Michelangelo's work.

Marble bas-relief of Taddei Tondo (1502)

"Tondo Taddei" of 1502 shows the baby Christ, who was afraid of a bullfinch, a symbol of the crucifixion. The living form of the child was later adapted by Raphael in the painting Madonna of Bridgewater. The "Madonna of Bruges", at the time of its creation, unlike other such statues that show the Virgin Mary, proudly represents her son. The Christ Child, restrained by the hand of his mother, is already ready to go out into the world. The Doni Madonna, depicting the Holy Family, has elements of all three previous works: the frieze with figures in the background has the appearance of a bas-relief, while the round shape and dynamism of the figures are reminiscent of Taddei's Tondo. The painting emphasizes the twisting movements present in the Madonna of Bruges. The painting commemorated the shapes, direction, and color that Michelangelo used on the ceiling of the Sistine Chapel.

Marble statue of the Madonna and Child (Madonna and Child) in Bruges, Belgium (1504)

Tondo Madonna Doni (Doni Tondo) (1504-1506)

male figure

The Kneeling Angel is an early work, one of several that Michelangelo created as part of a large decorative project for the Ark of St. Dominic in the church dedicated to this saint in Bologna. Several other artists worked on the project, starting with Niccolò Pisano in the 13th century. At the end of the 15th century, this project was managed by Niccolò del Arca. The angel holding the candlestick, created by Niccolò, has already been put in place.

Statue of an Angel (Angel), an early work by Michelangelo (1494–1495)

Two angels forming a couple have a great difference between themselves, one is depicted as a weak child with loose hair, dressed in a gothic cassock with deep folds. The young man Michelangelo is depicted strong and strong with eagle wings, dressed in antique style clothes. Everything is dynamic in Michelangelo's angel. Michelangelo's Bacchus sculpture was commissioned with a specific theme, the young god of wine. The sculpture has all the traditional trappings: a vine wreath, a bowl of wine and a satyr, but Michelangelo breathed a real air into the subject, depicting him with sleepy eyes, a swollen bladder and a pose that suggests he is unsteadily on his feet. While the work is clearly inspired by classical sculpture, it is unconventional due to its twist and strong three-dimensionality, which invites the viewer to look at it from all angles. In the so-called "Dying Slave", Michelangelo again used a figure with a pronounced contraposto, suggesting a specific pose of a person, in this case waking up from sleep. "Rebellious Slave" is one of two earlier statues of this kind for the tomb of Pope Julius, which the sculptor brought to an almost finished state. Today it is in the Louvre. These two works deeply influenced later sculpture through Rodin, who studied it at the Louvre. "Bound Slave" is one of the later statues for the tomb of Pope Julius. In the works collectively known as The Slaves, each shows a figure desperately trying to free itself from the bonds of the rock in which it is stuck. The works provide a unique insight into the sculptural methods used by Michelangelo and his way of shedding light on what he saw in stone.

Statue of the god of wine Bacchus, an early work by Michelangelo (1496–1497)

Statue Dying slave, Louvre (1513)

Statue of a Bound slave known as Atlas (1530–1534)

Ceiling of the Sistine Chapel

Michelangelo painted the ceiling of the Sistine Chapel. The completion of this work took about four years (1508-1512). The ceiling of the Sistine Chapel was painted between 1508 and 1512. The ceiling has a flattened barrel vault supported by twelve triangular sails rising between the windows of the chapel. The order, as Pope Julius II imagined it, was to decorate the sails with the figures of the twelve apostles. Michelangelo, who reluctantly took on the job, persuaded the Pope to give him free rein. The resulting decoration project was awe-inspiring to his contemporaries and has inspired other artists ever since. The plan has nine panels illustrating scenes from the Book of Genesis and is arranged in an architectural frame. On sail, Michelangelo replaced the proposed apostles with prophets and sibyls who foretold the coming of the Messiah. Michelangelo began painting from the later scenes of the story. The paintings included details of the area and groups of figures, The Drunkenness of Noah was the first in this group. In later compositions, painted after the original scaffolding had been removed, Michelangelo made the figures larger. One of the central images "The Creation of Adam"- one of the most famous and most reproduced works in the history of art. On the last panel, "Separation of Light from Darkness" is presented. This fresco is the widest in terms of depiction and was painted in one day. As a model for Creation, Michelangelo depicted himself in the process of painting the ceiling. In the role of assistants for small scenes, the artist painted twenty young men. They have been variously interpreted as angels, muses, or simply as decoration. Michelangelo referred to them as "ignudi". The figure is transmitted in context with what he saw on the fresco "Separation of Light from Darkness". In the process of painting the ceiling, Michelangelo examined various bodies. Some of the frescoes, such as the survivor "Libyan Sibyl", demonstrate the artist's attention to detail, such as hands and feet. The prophet Jeremiah, who foresaw the fall of Jerusalem, is an image of the artist himself.

Multi-figured compositions

The relief of Michelangelo "Battle of the Centaurs" was created at a time when he was still a young man, associated with the Medici Academy. The image has an unusually complex relief which, shows a large number of figures participating in a vigorous struggle. Such a complex of erratic figures is rare in Florentine art, where it is generally found only in images showing either the Massacre of the Innocents or the Torments of Hell. Some figures on the relief are transferred quite boldly. Its performance may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo de' Medici. Similar marble panels were created by Niccolo and Giovanni Pisano, and figurative compositions by Ghiberti on the bronze doors of the Baptistery of San Giovanni.

The composition "Battle of Kashin" is known as a whole only from its copies. According to Vasari, she was so admired that she deteriorated, and was eventually taken to pieces. It reflects earlier reliefs with its energy and variety of figures in various poses, many looking from behind as they face the approaching enemy and prepare for battle.

Bas-relief The Battle of the Centaurs (1492)

A copy of the lost cardboard Battle of Cascina, drawn by Bastiano da Sangallo

Fresco of the Crucifixion of St. Peter "(Crucifixion of St. Peter)

For The Last Judgment, Michelangelo drew inspiration from a fresco by Melozzo da Forli in the church of Santi Apostoli in Rome. At the same time, the work is very different from Michelangelo's in character. Melozzo depicted figures with different sides, as if they are floating in Heaven and seen from below. The majestic figure of Christ, with a cape inflating from the wind, demonstrates the degree of vision of the figure in perspective, which Andrea Mantegna also used, but this was not common for the frescoes of the Florentine painters. In The Last Judgment, Michelangelo had the opportunity, on an unprecedented scale, to depict figures that in action also rise or fall and are pulled off.

In the two frescoes of the Paolina Chapel, the Crucifixion of Peter and the Crucifixion of Paul, Michelangelo used different groups of figures to convey a complex narrative. In The Crucifixion of Peter, the soldiers are busy with their duty to dig a hole and raise a cross, while people look at them and discuss what is happening. A group of frightened women crowd in the foreground, while another group of Christians, led by a tall man, act as witnesses to the event. To the right in the foreground, Michelangelo entered the painting with a look of disappointment on his face.

Architecture

Michelangelo's architectural commissions included a number of those that were not realized, most notably the façade for Brunelleschi's Church of San Lorenzo in Florence. Michelangelo created a wooden model for it, however, to this day it remains an unfinished rough bar. In the same church, Giulio de' Medici (later Pope Clement VII) commissioned him to design the Medici Chapel and the tomb of Giuliano and Lorenzo de' Medici.

Pope Clement also commissioned the Laurentian Library, for which Michelangelo designed an unusual vestibule with columns built into niches and a staircase that seems to pour from the library like a lava flow. According to Pevsner: "... the disclosure of mannerism in its most sublime architectural form."

In 1546, Michelangelo created a very intricate oval design for the pavement of the Capitol and began planning the upper floor of the Palazzo Farnese. In 1547 he took over the completion of St. Peter's Basilica, begun according to the design of Bramante, and with a number of intermediate sketches by several architects. Michelangelo returned to Bramante's plan, maintaining the basic form and concepts by simplifying and strengthening the design to create a more dynamic and coherent whole. Although a late 16th-century engraving shows the dome in section as hemispherical, Michelangelo's model of the dome is partly oval and is the final version, as Giacomo della Porta completed it better.

The lobby of the Laurentian Library had Mannerist features that challenged the classical order of Brunelleschi's neighboring church.

Michelangelo, redesigned the ancient Capitol (Capitoline Hill), which included intricate pavement spirals with a star in the center

Michelangelo's plan for St. Peter's was both massive and restrained, with angles between the apsidal arcs of a Greek cross, executed in a square projection

The exterior is surrounded by a giant order of pilasters that support a continuous cornice. Four small domes are united around a large

Death

In his old age, Michelangelo created several Pietas in which he seems to be contemplating death. They were marked by the statue "Spirit of Victory", which may have been created for the tomb of Pope Julius II, but remained unfinished. In this work, the young victor overcomes an older hidden figure with Michelangelo traits.

Vittoria's Pieta Colonna is a pencil drawing that has been described as "gift drawings" because it may have been a gift from the artist and it was not necessary to study the work. In this image, Mary's raised hands testify to her prophetic role. The frontal direction resembles the fresco "Holy Trinity" by Masaccio in Santa Maria Novella in Florence.

In the Florentine Pieta, Michelangelo again depicts himself, this time the aged Nicodemus lowering the body of Jesus from the cross into the hands of his mother Mary and Mary Magdalene. Michelangelo broke left hand and the leg of a statue of Jesus. His student Tiberio Calcagni rebuilt the arm and drilled a hole to fit the leg. He also worked on the statue of Mary Magdalene.

Probably the Pieta Rondanini, Michelangelo's last sculpture, will never be finished because Michelangelo carved it before there was enough stone. The legs and the separated arm are left over from a previous stage of work. Since the statue has survived, it has an abstract character, in line with the concept of sculpture in the 20th century.

Michelangelo's legacy

Michelangelo, with Leonardo da Vinci and Raphael, one of the three giants of the Florentine High Renaissance. Although their names are often mentioned together, Michelangelo was 23 years younger than Leonardo and eight years older than Raphael. Due to his reclusive nature, he has nothing to do with either of the artists and outlived them both by over forty years.

Michelangelo took on several sculptor apprentices. He provided the work to Francesco Granacci, who was his companion and student of the Medici Academy. Granacci became one of several assistants to paint the ceiling of the Sistine Chapel. Michelangelo seems to have used assistants mainly for the more manual work of preparing surfaces and rubbing paint. Despite this, his works had a great influence on painters, sculptors and architects for many generations.

David is the most famous male nude statue of all time. She was destined to be propagated to decorate cities around the world. However, some of Michelangelo's other works may have had greater influence on the flow of art. The twisted figures and contradictions of The Spirit of Victory, the Bruges Madonna, and the Medici Madonna made them forerunners of Mannerism. The unfinished giants for the tomb of Pope Julius II deeply influenced late 19th and 20th century sculptors such as Rodin and Henry Moore.

8.3 Giorgio Vasari on the Last Judgment fresco in The Life of Michelangelo Buanarroti

"Let's return to the image itself. Michelangelo had already completed more than three-quarters of the work when Pope Paul came to look at it. And so, when Messer Biagio of Cesena, the master of ceremonies and a scrupulous man who accompanied the pope to the chapel, was asked how he finds it, he declared that it was absolutely shameful in a place so pious to place so many pebbles, showing their shameful parts so obscenely, and that this work was not for the papal chapel, but for a bathhouse or a tavern. Michelangelo did not like this, and as soon as he left, in revenge, he depicted him from life, without looking at him, in hell in the form of Minos, whose legs are wrapped around big snake, among the heaps of devils. And no matter how much Messer Biagio begged both the pope and Michelangelo to remove him, he remained there as a memory, as we see him now.

At this time, he happened to fall, not very high, however, from the scaffolding of this work, and he injured his leg, but, despite the pain, out of stubbornness, he did not allow anyone to treat him. Then there was still alive a doctor with quirks, Master Baccio Rontini, a Florentine, a friend of Michelangelo, who greatly appreciated his talent, taking pity on him, he one fine day knocked on his house, but, having received no answer either from his neighbors or from himself , nevertheless ascended to him by some secret paths and, passing through the rooms, finally got to him and found him in a desperate state. And then Master Baccio decided not to leave him and not leave him until he recovered. Having recovered from his illness, he returned to work and, without interrupting it any longer, finished everything in a few months, giving such power to his painting that he justified the words of Dante: "The dead are dead there, the living are just like the living" - such are the sufferings of sinners and the joy of the righteous.

And so, when this Last Judgment was revealed, he showed that he defeated not only the first artists who worked there, but also wanted to defeat himself, who created the ceiling, which he was so famous for, because he was already in it, far ahead of himself, really outdone himself; however, here, imagining the whole horror of this day, he depicts, to the even greater torment of those who lived unrighteously, all the instruments of the passions of Jesus Christ, forcing several naked figures to support a cross, a pillar, a spear, a sponge, nails and a crown in various and unprecedented movements, with great difficulty brought by him to the ultimate ease. There, sitting Christ with a terrible and formidable face, addresses the sinners, cursing them and inevitably plunging the Mother of God into great awe, who, tightly wrapped in a cloak, hears and sees all this horror. They are surrounded by countless figures of prophets, apostles, where Adam and St. Peter, who are believed to be depicted there: the first as the founder of the human race, the second as the founder Christian religion. Under Christ, the most magnificent St. Bartholomew, showing the skin torn from him. There is also a nude figure of St. Lawrence, and in addition, countless holy men and women and other male and female figures around, nearby and at a distance, and they all kiss and rejoice, having been awarded eternal bliss by the grace of God and as a reward for their deeds. At the feet of Christ are seven angels, described by the evangelist St. John, who, blowing seven trumpets, call for judgment, and their faces are so terrible that the hairs stand on end in those who look at them; among others are two angels, each holding a book of lives; and right there, according to a plan that cannot but be recognized as the most beautiful, we see on one side the seven deadly sins, which, in the guise of devils, fight and drag souls aspiring to heaven to hell, depicted in beautiful positions and very wonderful reductions. He did not fail to show the world how, at the time of the resurrection of the dead, the latter again receive their bones and their flesh from the same earth, and how, with the help of other living beings, they ascend to heaven, whence the souls, having already tasted bliss, rush to their aid; not to mention all those numerous considerations that can be considered necessary for such a work as this, - after all, he put a lot of all sorts of labors and efforts, as this, in particular, is especially clear in the boat of Charon, who with a desperate movement urges the overthrown devils with an oar souls in exactly the same way as Dante, his favorite, put it when he wrote: And the demon Charon calls a flock of sinners, Rotating his eyes like coals in ashes, And drives them away, and beats the unhurried with an oar.

And it is impossible to imagine the variety of faces of devils, monsters of truly infernal. In sinners, sin is also visible, and at the same time the fear of eternal condemnation. And besides the extraordinary beauty in this creation, one can see such a unity of painting and its execution that it seems as if it was written on the same day, and you will not find such a subtlety of decoration in any miniature, and, in truth, the number of figures and the amazing grandeur of this creation are as follows. that it is impossible to describe it, for it is overflowing with all possible human passions, and all of them are surprisingly expressed by it. In fact, any spiritually gifted person should easily recognize the proud, the envious, the stingy, the voluptuous, and all the rest like them, because in their depiction, all the differences appropriate to them are observed both in facial expression, and in movement and in all their other natural features: and this, although something wonderful and great, did not, however, become impossible for this person, who was always observant and wise, saw many people and mastered that knowledge of worldly experience, which philosophers acquire only by reflection and from books. So a sensible person and knowledgeable in painting sees the amazing power of this art and notices in these figures thoughts and passions that no one but him has ever depicted. Again, he will see here how the diversity of so many positions is achieved in the various and strange movements of young men, old people, men and women, in which the amazing power of his art, combined with the grace inherent in him by nature, is revealed to any spectator. That is why it excites the hearts of all the unprepared, as well as those who understand this craft. The abbreviations there seem to be in relief, while generalizing them, he achieves their softness; and the subtlety with which he painted gentle transitions shows what the pictures of a good and real painter should really be, and only the outlines of things turned by him in a way that no one else could do, show us a true Judgment, a true condemnation and resurrection .. .

He worked on the completion of this creation for eight years and opened it (as it seems to me) in 1541, on the day of Christmas, striking and surprising all Rome, nay, the whole world; Yes, and I, who was in Venice and went to Rome that year to see him, was amazed by him "

Previously unknown Michelangelo, in order to avoid any misunderstandings, signed this work of his. On a sling running over the left shoulder of the Madonna, he carved: "Michelangelo Buonarroti the Florentine performed." A visit to Rome, contact with ancient culture, monuments that Michelangelo admired in the Medici collection in Florence, the discovery of the most famous monument of antiquity - ...

The foundations of Michelangelo's culture were Neoplatonic in nature. The ideological essence of his activity and contradictory religious life also remains Neoplatonic to the end. Despite studying under Ghirlandaio and Bertoldo, Michelangelo can be considered self-taught. He perceived art neoplatonically, as the fury of the soul. But the source of inspiration for him, unlike Leonardo, was not nature, but ...

The highest manifestation of human nature, and the purpose of man is the knowledge of the truth. The chief virtues are reason, wisdom and knowledge, the so-called virtues of reason. Landino proceeds from the humanistic principle of dignity individual rooted in her abilities. The moral norms of correct behavior, leading to good and averting evil, are organically connected with reason and ...

Paintings by Michelangelo - frescoes "The Crucifixion of the Apostle Peter" and "The Fall of Saul" (1542-50, Paolina Chapel, Vatican). In general, the late painting of Michelangelo had a decisive influence on the formation of mannerism. late sculptures. Poetry The dramatic complexity of figurative solutions and plastic language distinguishes the late sculptural works of Michelangelo: "Pieta with Nicodemus" (c. 1547-55, ...

Michelangelo di Lodovico di Leonardo di Buonarroti Simoni (Michelangelo di Lodovico di Leonardo di Buonarroti Simoni) is the most famous painter from Italy, a genius of architectural and sculptural works, a thinker of the High Renaissance and the early Baroque period. 9 of the 13 popes who were on the throne during the time of Michelangelo invited the master to perform work in and.

Little Michelangelo saw the light in the early morning of March 6, 1475 on Monday in the family of a bankrupt banker and nobleman Lodovico Buonarroti Simoni in the Tuscan town of Caprese, near the province of Arezzo, where his father held the position of podestà ), head of the Italian medieval administration.

Family and childhood

Two days after his birth, on March 8, 1475, the boy was baptized in the church of San Giovanni di Caprese (Chiesa di San Giovanni di Caprese). Michelangelo was the 2nd child in a large family. Mother, Francesca Neri del Miniato Siena, in 1473 gave birth to the first child Lionardo, in 1477 Buonarroto was born, in 1479 the fourth son Giovansimone was born, in 1481 the younger Gismondo was born. Exhausted by frequent pregnancies, the woman dies in 1481, as soon as Michelangelo was 6 years old.

In 1485, the father of a large family married for the second time to Lucrezia Ubaldini di Galliano, who was unable to give birth to her own children and raised adopted boys as her own. Unable to cope with a large family, his father gave Michelangelo to the Topolino foster family in the city of Settignano. The father of the new family worked as a stonemason, and his wife knew the child from childhood, as she was Michelangelo's nurse. It was there that the boy began to work with clay and picked up a chisel for the first time.

To give the heir an education, the father identified Michelangelo in educational institution Francesco Galatea da Urbino, located in (Firenze). But the student from him turned out to be unimportant, the boy liked to draw more, copying icons and frescoes.

First works

In 1488, the young painter achieves his goal and goes to study in the workshop of Domenico Ghirlandaio, where whole year learn the basics of drawing techniques. During the year of study, Michelangelo creates several pencil copies of famous paintings and a copy from an engraving. German painter Martin Schongauer under the title Tormento di Sant'Antonio.

In 1489, the young man was enrolled in the art school of Bertoldo di Giovanni (Bertoldo di Giovanni), organized under the auspices of (Lorenzo Medici), the ruler of Florence. Noticing the genius of Michelangelo, the Medici takes him under his protection, helping him develop his abilities and fulfill expensive orders.

In 1490, Michelangelo continued his studies at the Academy of Humanism at the Medici court, where he met the philosophers Marsilio Ficino and Angelo Ambroghini, the future Popes: Leo X (Leo PP. X) and Clement VII (Clemens PP. VII). For 2 years of study at the Academy of Michelangelo creates:

• Marble relief "Madonna at the stairs" ("Madonna della scala"), 1492, exhibited in the Florentine Museum of Casa Buonarroti (Casa Buonarroti);
• Marble relief "Battle of the Centaurs" ("Battaglia dei centauri"), 1492, exhibited at Casa Buonarroti;
• Sculpture by Bertoldo di Giovanni.

On April 8, 1492, the influential patron of talents, Lorenzo de' Medici, dies, and Michelangelo decides to return to his father's house.

In 1493, with the permission of the rector of the church of Santa Maria del Santo Spirito (Santa Maria del Santo Spirito), he studied anatomy on corpses at the church hospital. In gratitude for this, the master makes for the priest a wooden "Crucifixion" ("Crocifisso di Santo Spirito") 142 cm in height, which is now exhibited in the church in the side chapel.

In Bologna

In 1494, Michelangelo left Florence, not wanting to participate in the uprising of Savonarola (Savonarola) and went to (Bologna), where he immediately took up the order of 3 small figures for the tomb of St. Dominic (San Domenico) in the church of the same name "Saint Dominic" ("Chiesa di San Domenico"):

• "Angel with a candelabra" ("Angelo reggicandelabro"), 1495;
• "Saint Petronius" ("San Petronio"), patron of the city of Bologna, 1495;
• "Saint Proclus" ("San Procolo"), Italian warrior-saint, 1495

In Bologna, the sculptor learns to create difficult reliefs, watching the actions of Jacopo della Quercia in the Basilica of San Petronio (La Basilica di San Petronio). Elements of this work would be reproduced by Michelangelo later on the ceiling ("Cappella Sistina").

Florence and Rome

In 1495, the 20-year-old master again comes to Florence, where the power is in the hands of Girolamo Savonarola, but does not receive any orders from the new rulers. He returns to the Medici Palace and begins working for Lorenzo's heir, Pierfrancesco di Lorenzo de' Medici, creating for him now lost statues:

• "John the Baptist" ("San Giovannino"), 1496;
• "Sleeping Cupid" ("Cupido dormiente"), 1496

Lorenzo asked the last statue to be made old, he wanted to sell the work of art more expensive, passing it off as an old find. But Cardinal Raffaele Riario, who purchased the forgery, discovered the deception, however, impressed by the work of the author, did not make claims to him, inviting him to work in Rome.

June 25, 1496 Michelangelo arrives in Rome, where for 3 years he creates the greatest masterpieces: marble sculptures of the god of wine Bacchus (Bacco) and (Pietà).

Heritage

Throughout his subsequent life, Michelangelo repeatedly worked either in Rome or in Florence, fulfilling the most labor-intensive orders of the popes.

The creativity of the ingenious master was manifested not only in sculptures, but also in painting and architecture, leaving many unsurpassed masterpieces. Unfortunately, some works have not survived to our time: some were lost, others were deliberately destroyed. In 1518, the sculptor for the first time destroyed all the sketches for painting the Sistine Chapel (Cappella Sistina), and 2 days before his death, he again ordered to burn his unfinished drawings so that posterity would not see his creative torment.

Personal life

It is not known for certain whether Michelangelo had a close relationship with his passions or not, but the homosexual nature of his attraction comes through in many of the maestro's poetic works.

At the age of 57, he dedicated many of their sonnets and madrigals to the 23-year-old Tommaso dei Cavalieri.(Tommaso Dei Cavalieri). Many of their joint poetic works speak of mutual and touching love to each other.

In 1542, Michelangelo met Cecchino de Bracci, who died in 1543. The maestro was so saddened by the loss of a friend that he wrote a cycle of 48 sonnets, praising grief and sadness for an irreparable loss.

One of the young men posing for Michelangelo, Febo di Poggio, constantly asked for money, gifts and jewelry from the master in exchange for reciprocal love, receiving the nickname “little blackmailer” for this.

The second young man, Gerardo Perini (Gherardo Perini), also posing for the sculptor, did not hesitate to take advantage of the favor of Michelangelo and simply robbed his admirer.

At the end of his life, the sculptor felt a wonderful sense of affection for a female representative, the widow and poetess Vittoria Colonna, whom he had known for over 40 years. Their correspondence is a significant monument of the era of Michelangelo.

Death

Michelangelo's life was interrupted on February 18, 1564 in Rome. He died in the presence of a servant, doctors and friends, having managed to dictate a will, promising the Lord - his soul, the earth - his body, and his relatives - property. A tomb was built for the sculptor, but two days after his death, the body was moved to the Basilica of Santi Apostoli for some time, and in July he was buried in the Basilica of Santa Croce (Basilica di Santa Croce) in the center of Florence.

Painting

Despite the fact that the main manifestation of the genius of Michelangelo was the creation of sculptures, he has many masterpieces of pictorial performance. According to the author, high-quality paintings should look like sculptures and reflect the volume and relief of the images presented.

The “Battle of Cascina” (“Battaglia di Cascina”) was created by Michelangelo in 1506 for painting one of the walls of the Great Council Hall in the Apostolic Palace (Palazzo Apostolico) by order of the gonfaloniere (gonfaloniere) Pier Soderini. But the work remained unfinished, as the author was summoned to Rome.

On a huge cardboard in the premises of the Sant'Onofrio hospital, the artist masterfully depicted soldiers in a hurry to stop bathing in the Arno River. A horn from the camp called them to fight and the men in a hurry grab their weapons, armor, pull clothes over wet bodies, while helping their comrades. The cardboard placed in the Papal Hall became a school for such artists as: Antonio da Sangallo (Antonio da Sangallo), (Raffaello Santi), Ridolfo Ghirlandaio (Ridolfo del Ghirlandaio), Francesco Granaccio (Francesco Granacci), and later Andrea del Sarto (Andrea del Sarto), Jacopo Sansovino, Ambrogio Lorenzetti, Perino del Vaga and others. They came to work and copied from a unique canvas, trying to get closer to the talent of the great master. Cardboard has not survived to our time.

"Madonna Doni" or "Holy Family" (Tondo Doni) - a round painting with a diameter of 120 cm is exhibited in (Galleria degli Uffizi) in Florence. It was made in 1507 in the "cangiante" style, when the skin of the depicted characters resembles marble. Most the picture is occupied by the figure of the Mother of God, behind her is John the Baptist. They hold the baby Christ in their arms. The work is filled with complex symbolism, subject to various interpretations.

Manchester Madonna

The unfinished Manchester Madonna (Madonna di Manchester) was made in 1497 on a wooden board and is stored in the London national gallery(National Gallery). The first name of the painting sounded like: “Madonna and Child, John the Baptist and Angels”, but in 1857 it was first presented to the public at an exhibition in Manchester (Manchester), having received its second name, by which it is known today.

The Entombment (Deposizione di Cristo nel sepolcro) was executed in 1501 in oil on wood. Another unfinished work by Michelangelo, owned by the London National Gallery. The main figure of the work was the body of Jesus taken down from the cross. His followers carry their teacher to the coffin. Presumably, John the Evangelist is depicted to the left of Christ in red clothes. Other characters may be: Nicodemus (Nikodim) and Joseph of Arimathea (Joseph of Arimathea). On the left kneeling in front of the teacher is Mary Magdalene (Mary Magdalene), and on the right below, the image of the Mother of God is outlined, but not drawn.

Madonna and Child

The Madonna and Child sketch (Madonna col Bambino) was made between 1520 and 1525 and may well turn into a full-fledged painting in the hands of any artist. Stored in the Museum "Casa (House) Buonarroti" (Casa Buonarroti) in Florence. At first, on the first sheet of paper, he drew the skeletons of future images, then on the second he “built up” muscles on the skeleton. In our time, the work has been exhibited with great success in museums in America for the past three decades.

Leda and the swan

The lost painting “Leda and the Swan” (“Leda e il cigno”), created in 1530 for the Duke of Ferrara Alfonso I d’Este (Italian: Alfonso I d’Este), is known today only thanks to copies. But the duke did not get the picture, the nobleman sent for the work to Michelangelo commented on the work of the master: “Oh, this is nothing!” The artist expelled the envoy and presented the masterpiece to his student Antonio Mini (Antonio Mini), with whom both sisters soon married. Antonio took the work to France, where it was bought by the monarch Francis I (François Ier). The painting belonged to the Fontainebleau Palace (Château de Fontainebleau) until it was destroyed in 1643 by François Sublet de Noyers, who considered the image too voluptuous.

Cleopatra

The painting “Cleopatra” (“Cleopatra”), created in 1534, is the ideal of female beauty. The work is interesting in that on the other side of the sheet there is another sketch in black chalk, but so ugly that art historians made an assumption that the authorship of the sketch belonged to one of the master’s students. Michelangelo's portrait of the Egyptian queen was presented by Tommaso dei Cavalieri. Perhaps Tommaso tried to draw one of the ancient statues, but the work was unsuccessful, then Michelangelo turned the sheet over and turned the squalor into a masterpiece.

Venus and Cupid

Cardboard "Venus and Cupid" ("Venere e Amore"), created in 1534, was used by the painter Jacopo Carucci to create the painting "Venus and Cupid" ("Venus and Cupid"). Oil painting on wood panel measuring 1 m 28 cm by 1 m 97 cm is in the Uffizi Gallery in Florence. ABOUT The original by Michelangelo has not survived to this day.

Pieta

The drawing "Pieta" ("Pietà per Vittoria Colonna") was written in 1546 for Michelangelo's girlfriend, the poetess Vittoria Colonna. The chaste woman not only dedicated her work to God and the church, but also forced the artist to become more deeply imbued with the spirit of religion. It was to her that the master dedicated a series of religious drawings, among which was the Pieta.

Michelangelo repeatedly wondered if he was competing with God himself, trying to achieve perfection in art. The work is stored in the Museum of Isabella Stewart Gardner (Isabella Stewart Gardner Museum) in Boston (Boston).

Epiphany

The sketch “Theophany” (“Epifania”) is a grandiose work of the artist, completed in 1553. It was made on 26 paper sheets 2 m 32 cm 7 mm high after much thought (multiple traces of sketch changes are visible on paper). In the center of the composition is the Virgin Mary, who with her left hand removes St. Joseph from herself. At the feet of the Mother of God is the baby Jesus, in front of Joseph is the baby St. John. On the right hand of Mary is a figure of a man not identified by art critics. The work is exhibited at the British Museum in London.

sculptures

Today, 57 works belonging to Michelangelo are known, about 10 sculptures were lost. The master did not sign his work and the ministers of culture continue to "find" all the new works of the sculptor.

Bacchus

The sculpture of the drunken god of wine made of marble "Bacchus" ("Bacco"), 2 m 3 cm high, is depicted in 1497 with a glass of wine in his hand and with grape clusters symbolizing the hair on his head. He is accompanied by a goat-footed satyr. The customer of one of the first masterpieces of Michelangelo was Cardinal Rafael della Rovere (Raffaele della Rovere), who subsequently refused to take the work. In 1572 the Medici family bought the statue. Today it is exhibited in the Italian Museum "Bargello" ("Bargello") in Florence.

Roman Pieta

An order for painting a ceiling with an area of ​​​​about 600 square meters. m. "Sistine Chapel" ("Sacellum Sixtinum"), the Apostolic Palace, Pope Julius II (Iulius PP. II) gave the master after their reconciliation. Before that, Michelangelo lived in Florence, he was angry with the pope, who refused to pay for the construction of his own tomb.

Previously, the talented sculptor had never done frescoes, but he completed the order of the royal person in the shortest possible time, painting the ceiling with three hundred figures and nine scenes from the Bible.

Creation of Adam

"The Creation of Adam" ("La creazione di Adamo") is the most famous and beautiful fresco of the chapel, completed in 1511. One of the central compositions is full of symbolism and hidden meaning. God the Father, surrounded by angels, is depicted as flying to infinity. He stretches out his hand towards outstretched hand Adam, breathing the soul into the ideal human body.

Last Judgment

The Last Judgment fresco (Giudizio universale) is the largest fresco of the Michelangelo era. The master has been working on the image measuring 13 m 70 cm by 12 m for 6 years, finishing it in 1541. In the center is a figure of Christ with his right hand raised up. He is no longer the messenger of the world, but a formidable judge. Next to Jesus were the apostles: St. Peter, St. Lawrence, St. Bartholomew, St. Sebastian and others.

The dead look with horror at the judge, waiting for the verdict. Those saved by Christ are resurrected, and sinners are carried away by the devil himself.

“The Universal Flood” is the first fresco painted by Michelangelo on the ceiling of the chapel in 1512. Masters from Florence helped the sculptor to do this work, but soon their work ceased to satisfy the maestro and he refused outside help. The image shows human fears at the last moment of life. Everything is already flooded with water, except for a few high hills, on which people in desperation try to avoid death.

"Libyan Sibyl" ("Libyan sibyl") - one of the 5 depicted by Michelangelo on the ceiling of the chapel. A graceful woman with a folio is presented half-turned. According to the assumption of art critics, the artist copied the image of the Sibyl from a posing young man. According to legend, she was a dark-skinned African woman of average height. The maestro decided to portray a soothsayer with white skin and blond hair.

Separation of Light from Darkness

The fresco "The Separation of Light From Dark", like other frescoes in the chapel, is filled with a riot of colors and emotions. The higher mind, full of love for all things, has such incredible power that Chaos is unable to prevent it from separating light from darkness. Giving the Almighty a human appearance suggests that each person is able to create a small universe within himself, distinguishing between good and evil, light and darkness, knowledge and ignorance.

Saint Paul's Cathedral

At the beginning of the 16th century, Michelangelo, as an architect, participated in the creation of the plan of St. Peter's Basilica, together with the architect Donato Bramante. But the latter disliked Buonarroti and constantly plotted against his opponent.

Forty years later, the construction completely passed into the hands of Michelangelo, who returned to Bramante's plan, rejecting the plan of Giuliano Sangallo (Giuliano da Sangallo). The maestro brought more monumentality to the old plan when he abandoned the complex division of space. He also increased the under-dome pylons and simplified the shape of the semi-dome. Thanks to innovations, the building acquired integrity, as if it had been carved from a single piece of matter.

• We recommend reading about

Paolina Chapel

Michelangelo was only able to start painting the “Paolina Chapel” (“Cappella Paolina”) in the Apostolic Palace only in 1542 at the age of 67. Long work on the frescoes of the Sistine Chapel greatly undermined his health, inhaled fumes of paint and plaster led to general weakness and heart disease. The paint spoiled his eyesight, the master hardly ate, did not sleep, and did not take off his boots for weeks. As a result, twice Buonarroti stopped work and returned to them again, creating two amazing frescoes.

"Conversion of the Apostle Paul" ("Conversione di Saulo") - the first fresco by Michelangelo in the "Paolina Chapel" measuring 6 m 25 cm by 6 m 62 cm, completed in 1545. The Apostle Paul was considered the patron saint of Pope Paul III (Paulus PP III) . The author depicted a moment from the Bible, which describes how the Lord himself appeared to Saul, turning the sinner into a preacher.

Crucifixion of Saint Peter

The fresco "The Crucifixion of St. Peter" ("Crocifissione di San Pietro") measuring 6 m 25 cm by 6 m 62 cm was completed by Michelangelo in 1550 and became the final painting of the artist. Saint Peter was sentenced to death by the emperor Nero (Nero), but the condemned wished to be crucified upside down, since he did not consider himself worthy to accept death like Christ.

Many artists, depicting this scene, faced misunderstanding. Michelangelo solved the problem by presenting the scene of the crucifixion before the erection of the cross.

Architecture

The second half of his life, Michelangelo increasingly began to turn to architecture. During the construction of architectural monuments, the maestro successfully destroyed the old canons, putting into his work all the knowledge and skills accumulated over the years.

In the "Basilica of St. Lawrence" ("Basilica di San Lorenzo") Michelangelo worked not only on the tombstones of the Medici. The church, built in 393 during the reconstruction in the XV century, was supplemented with the Old Sacristy according to the project (Filippo Brunelleschi).

Later, Michelangelo became the author of the project of the New Sacristy, attached to the other side of the church. In 1524, by order of Clement VII (Clemens PP. VII), the architect designed and built the building of the Laurenzian Library (Biblioteca Medicea Laurenziana) on the south side of the church. Complex stairs, floors and ceilings, windows and benches - every little thing was carefully thought out by the author.

"Porta Pia" - the gate in the northeast (Mura aureliane) in Rome on the ancient Nomentana road (Via Nomentana). Michelangelo made three projects, of which the customer Pope Pius IV (Pius PP. IV) approved the least expensive option, where the facade resembled a theater curtain.

The author did not live to see the end of the construction of the gate. After the gates were partially destroyed by lightning in 1851, Pope Pius IX (Pius PP. IX) ordered them to be reconstructed, changing the original appearance buildings.

The titular Basilica of Santa Maria degli Angeli e dei Martiri (Basilica di Santa Maria degli Angeli e dei Martiri) is located on the Roman (Piazza della Repubblica) and was built in honor of the Mother of God, the holy great martyrs and the angels of God. Pope Pius IV commissioned the development of the construction plan to Michelangelo in 1561. The author of the project did not live to see the completion of the work, which fell on 1566.

Poetry

For the last three decades of his life, Michelangelo was engaged not only in architecture, he wrote many madrigals and sonnets, which were not published during the author's lifetime. In poetry, he sang love, glorified harmony and described the tragedy of loneliness. For the first time, Buonarroti's poems were published in 1623. In total, about three hundred of his poems, a little less than 1,500 letters from personal correspondence and about three hundred pages of personal records have been preserved.

1. Michelangelo's talent was manifested in the fact that he saw his work even before they were created. The master personally selected pieces of marble for future sculptures and himself was engaged in their transportation to the workshop. He always kept and kept the raw blocks as ready-made masterpieces.
2. The future "David", which appeared before Michelangelo as a huge piece of marble, turned out to be the sculpture that the previous two masters had already abandoned. For 3 years, the maestro worked on a masterpiece, presenting the naked “David” to the public in 1504.
3. At the age of 17, Michelangelo quarreled with 20-year-old Pietro Torrigiano, also an artist, who managed to break his opponent's nose in a fight. Since then, in all the images of the sculptor, he is presented with a disfigured face.
4. "Pieta" in St. Peter's Basilica impresses the audience so much that it has been repeatedly attacked by individuals with an unstable psyche. In 1972, Australian geologist Laszlo Toth committed an act of vandalism by hitting the sculpture 15 times with a hammer. After that, "Pieta" was placed behind the glass.
5. Darling sculptural composition author Pieta "Lamentation of Christ" was the only signed work. When the masterpiece was presented in St. Peter's Basilica, people began to speculate that its creator is Cristoforo Solari (Cristoforo Solari). Then Michelangelo, having made his way to the cathedral at night, knocked out on the folds of the clothes of the Mother of God "Michelangelo Buonarotti the Florentine sculpted", but later he regretted the pride shown, never again signing his works.
6. While working on The Last Judgment, the master accidentally fell from high scaffolding, severely injuring his leg. He saw this as a bad omen and did not want to work anymore. The artist locked himself in the room, not letting anyone in and deciding to die. But the famous doctor and friend of Michelangelo - Baccio Rontini (Baccio Rontini) wished to cure the wayward stubborn, and since the doors did not open in front of him, he made his way into the house through the cellar with great difficulty. The doctor forced Buonarroti to take medication and helped him recover.
7. The power of the master's art is only gaining strength over time. Over the past 4 years, more than a hundred people have sought medical help after visiting rooms with exhibited works by Michelangelo. Particularly impressive to the audience is the statue of the naked "David", in front of which people have repeatedly lost consciousness. They complained of disorientation, dizziness, apathy and nausea. Doctors of the hospital "Santa Maria Nuova" ("Santa Maria Nuova") call this emotional condition"David Syndrome"

↘️🇮🇹 USEFUL ARTICLES AND SITES 🇮🇹↙️ SHARE WITH YOUR FRIENDS

“And this in our art serves as an example of great painting, sent down by God to the earthly, so that they can see how fate guides descended minds of a higher order, which have absorbed grace and divine wisdom.”
[Vasari on the fresco "The Last Judgment"]

Divine Michelangelo. Fresco of the Sistine Chapel "Last Judgment". Part I . Photo and description of fragments of the fresco of the Sistine Chapel “The Last Judgment”.

In 1534 Michelangelo again and forever returned to Rome.

Pope Clement VII, who was going to entrust him with the painting "Resurrection" for the altar wall of the Sistine Chapel, died on the second day after the artist's arrival.

The new Pope Paul III offered Michelangelo the position of chief architect and painter of the Vatican, and the artist gratefully accepted this honorable offer. Pope Paul decided to realize the noble intention of his predecessor and complete the picturesque decoration of the Sistine Chapel. But he chose the theme of the Last Judgment on the altar wall, and on the opposite wall above the entrance - "The Fall of Lucifer." Of these two grandiose frescoes, only the first, The Last Judgment, was executed.

Previously, the altar wall of the Sistine Chapel was painted with frescoes by Pietro Perugino on the themes "The Finding of Moses" and "The Birth of Christ", which are known to us only in descriptions. To give space to the new fresco, it was necessary to destroy not only them, but also the paintings by Michelangelo in the lunettes of the altar wall. In addition, two huge lancet windows were walled up, which changed both the lighting and the perception of other works. And now at this place Michelangelo had to recreate the Last Judgment - a fresco that became the last great work of the Renaissance and a harbinger of the new style of Rome - baroque.

This is the last piece great era was going to create her last Great master: By that time, his main fellow rivals Leonardo da Vinci and Raphael had long since passed away.

The younger generation idolized Michelangelo, but this could not get him out of a deep depression: after all, he witnessed the slow extinction of the era of humanist geniuses, whose faith crumbled to dust. It was replaced by a new ideology and a new art. The events of that time, especially the rise of Protestantism and the destructive effect of the Reformation, increased Michelangelo's emotional intoxication. In addition, the artist had serious health problems: he suffered from arthritis, migraine, neuralgia, he had a toothache. At 60, he looked like a hunched and tired old man. In such an environment and in such a state, Michelangelo set about creating a story about the last tragedy of mankind - the Last Judgment. The fresco, which Michelangelo spent about six years of hard work on, is striking in its monumentality. The mural is about 200 sq. m (1370x1220 cm) depicts four hundred figures in different, and never repeating, poses. This world of diverse movements reflects the whole range of human feelings.

The very theme of the Last Judgment in religion is intended to embody the triumph of justice over evil. But Michelangelo abandoned the affirmative idea of ​​the Last Judgment and presented the religious theme as a human tragedy on a cosmic scale, when the Second Coming of Christ became a day of anger and horror, the struggle of passions and hopeless despair.

In this grandiose fresco there are no images of life-affirming power, the artist shows a person powerless in the face of fate. If the ceiling frescoes are dedicated to the first days of creation and imbued with faith in man, then the Last Judgment carries the idea of ​​the collapse of the world and retribution for what has been done. Michelangelo managed to solve a difficult task - to combine in one ensemble the ceiling painting, which is a complex system of compositions and images, with the huge composition of the Last Judgment on the altar wall in such a way that they do not interfere with the perception of each. Michelangelo's solution to the theme of the Last Judgment differs from the traditional one: it depicts not the moment of the Judgment, when the righteous are already separated from the sinners, but its beginning. But at the same time, he retained the most important element of iconography, dividing the space of the fresco into two planes - heavenly (with Christ, the Mother of God and saints) and earthly, with scenes of the resurrection of the dead and dividing them into righteous and sinners.

The appearance of the beardless young Christ, personifying the Supreme Court, is also unconventional. He goes back to the early Christian type of Christ Emmanuel and is completely free from signs of a conventional religious hierarchy. No one before Michelangelo dared to violate the ancient Byzantine canons of the image of Christ.

The center of the composition of The Last Judgment is the only stable figure of Christ, not amenable to the movement of the characters. Michelangelo's Christ is not a merciful protector, but a punishing Master. His face is impartial, and the cursing hand gesture can only be interpreted as a gesture of retribution. With this punishing gesture, Christ sets in motion a slow but inexorable circular movement, which draws into its stream both the righteous, and sinners, and angels, and saints, indistinguishable from each other. This external force that captivates the figures and which they cannot resist is so great that the characters lose their beauty, the harmony of hardships is broken by exaggeratedly powerful muscles and bodies, their sharp gestures are full of despair.

Compassionate, depressed by what is happening, Maria turned away in confusion, unable to help people. Christ and Mary are surrounded by figures of saints who have found salvation, apostles and prophets, among which stand out: Adam, as the initiator of the human race, and St. Peter, as the founder of the Christian religion. In the hands of the martyrs, instruments for torture are symbols of the suffering they endured for their faith: Saint Sebastian with arrows, Saint Lawrence with an iron grate on which he was burned.

At the left foot of Christ, Michelangelo placed St. Bartholomew, who holds in his hand the skin that was torn alive from him by the persecutors of the first Christians. Michelangelo conveyed his emotional state and personal attitude to the embodied theme very boldly and unusually, giving his own features to the face distorted by suffering on the torn skin of St. Bartholomew.

Above Christ on the left, wingless angels (which was new for traditional iconography) overturn the cross - a symbol of martyrdom and humiliation, and on the right they overthrow a column - a symbol of passing earthly power.

At the feet of Christ, seven trumpeting angels, described by the evangelist St. John, announce the beginning of the Last Judgment, two angels hold the book of lives in their hands, where all human deeds are recorded.

The whole fresco is filled with movement: the saved soul rises to heaven along a garland of roses. The dead rise from the earth, again receiving their bones and flesh from the same earth, and go with hope and fear to the judgment of God. Those who have few sins rise easily and freely, and those who are strong in spirit help those who need support to rise.

With continuation - Divine Michelangelo. Fresco of the Sistine Chapel "Last Judgment". Part II . Photo and description of fragments of the fresco of the Sistine Chapel “Last Judgment” - you can find

The culmination of the High Renaissance and at the same time a reflection of the deep contradictions of the culture of the era was the work of the third of the titans Italian art- Michelangelo Buonarroti (1475-1564). Even in comparison with Leonardo and Raphael, striking in their versatile talent, Michelangelo is distinguished by the fact that in each of the areas of artistic creativity he left works grandiose in scale and strength, embodying the most progressive ideas of the era. Michelangelo was a brilliant sculptor, painter, architect, draftsman, military engineer, poet, and at the same time he was a fighter for high humanistic ideals, a citizen, up in arms defending the freedom and independence of his homeland.

The great artist and fighter are inseparable in the idea of ​​Michelangelo. His whole life is an unceasing heroic struggle for the assertion of the human right to freedom, to creativity. Throughout his long creative journey, the artist's attention was focused on a person who was active, active, ready for a feat, seized by a great passion. His works of the late period reflect the tragic collapse of the Renaissance ideals.

Michelangelo was born in Caprese (in the vicinity of Florence), in the family of the city governor. At the age of thirteen, he entered the workshop of Ghirlandaio, and a year later, at the art school at the court of Lorenzo de Medici the Magnificent. Here, in the so-called Medici gardens at the monastery of San Marco, he continued his studies under the guidance of Bertoldo di Giovanni, a staunch admirer of antiquity. Having become acquainted with the rich and refined culture of the Medici court, with wonderful works of ancient and modern art, with famous poets and humanists, Michelangelo did not close himself in an exquisite court setting. Already early independent works confirm his attraction to large monumental images, full of heroism and strength. The relief "Battle of the Centaurs" (early 1490s, Florence, Casa Buonarroti) reveals the drama and stormy dynamics of the fight, the fearlessness and energy of the fighters, the powerful plasticity of interconnected strong figures, permeated with a single rapid rhythm.

final formation public consciousness Michelangelo falls at the time of the expulsion of the Medici from Florence and the establishment of a republican system there. Trips to Bologna and Rome contribute to the completion of art education. Antiquity opens before him the gigantic possibilities hidden in sculpture. In Rome, the Pieta marble group was created (1498–1501, Rome, St. Peter's Cathedral) - the first large original work master, imbued with faith in the triumph of the humanistic ideals of the Renaissance. The sculptor solves the dramatic theme of the mourning of Christ by the Mother of God in a deeply psychological way, expressing immeasurable grief by tilting his head, exactly found by the gesture of the left hand of the Madonna. Moral Purity the image of Mary, the noble restraint of her feelings reveal the strength of character and are conveyed in classically clear forms, with amazing perfection. Both figures are arranged into an inseparable group, in which not a single detail violates the closed silhouette, its plastic expressiveness.

Deep conviction, the excitement of a person striving for a feat is captured in the statue of David (Florence, Academy of Fine Arts), executed in 1501-1504 after the sculptor returned to Florence. The image of the legendary hero embodied the idea of ​​civic feat, courageous valor and intransigence. Michelangelo abandoned the narrative of his predecessors. Unlike Donatello and Verrocchio, who depicted David after defeating the enemy, Michelangelo presented him before the battle. He focused on the strong-willed composure and intensity of all the forces of the hero, conveyed by plastic means. In this colossal statue, the peculiarity of Michelangelo's plastic language is clearly expressed: with an outwardly calm pose of the hero, his entire figure with a powerful torso and superbly modeled arms and legs, his beautiful inspired face express the utmost concentration of physical and spiritual forces. All muscles seem to be permeated with movement. The art of Michelangelo returned to nudity the ethical meaning that it had in ancient plastic. The image of David acquires a broader meaning as an expression of the creative powers of a free man. Already in those days, the Florentines understood the civic pathos of the statue and its significance, setting it in the city center in front of the Palazzo Vecchio building as a call to defend the fatherland and to just rule.

Having found a convincing form of solving the statue (based on one leg), masterfully modeling it, Michelangelo made him forget about the difficulties that he had to overcome in working with the material. The statue was carved from a block of marble, which, as everyone believed, was spoiled by one unfortunate sculptor. Michelangelo managed to fit the figure into the finished block of marble so that it fits in it with the utmost compactness.

Simultaneously with the statue of David, a cardboard was made for painting the Council Hall of the Palazzo Vecchio “The Battle of Cascine” (known from engravings and a painting copy). Entering into competition with Leonardo, the young Michelangelo received a higher public appreciation of his work; he contrasted the theme of exposing the war and its atrocities with the glorification of the lofty feelings of valor and patriotism of the soldiers of Florence, who rushed to the battlefield at the call of the trumpet, ready for a feat.

Having received an order from Pope Julius II for the construction of his tombstone, Michelangelo, without finishing the Battle of Kashin, moved to Rome in 1505. He creates a project for a majestic mausoleum, decorated with numerous statues and reliefs. To prepare the material - marble blocks - the sculptor went to Carrara. During his absence, the pope lost interest in the idea of ​​building a tomb. Offended, Michelangelo left Rome and only after persistent appeals from the pope did he return. This time he received a new grand order - painting the ceiling of the Sistine Chapel, which he accepted with great reluctance, since he considered himself primarily a sculptor, and not a painter. This painting has become one of the greatest creations of Italian art.

In the most difficult conditions, Michelangelo worked for four years (1508-1512), completing the entire painting of the huge ceiling (600 sq. M) with his own hand. In accordance with the architectonics of the chapel, he divided the vault covering it into a number of fields, placing in a wide central field nine compositions on scenes from the Bible about the creation of the world and the life of the first people on earth: “Separation of light from darkness”, “Creation of Adam”, “Fall” , “The Intoxication of Noah”, etc. On the sides of them, on the slopes of the vault, are the figures of the prophets and sibyls (soothsayers), in the corners of the fields - seated naked young men; in the sails of the arch, stripping and lunettes above the windows - episodes from the Bible and the so-called ancestors of Christ. The grandiose ensemble, which includes more than three hundred figures, seems to be an inspired hymn to the beauty, power, mind of man, the glorification of his creative genius and heroic deeds. Even in the image of God - a majestic mighty old man, the creative impulse is emphasized first of all, expressed in the movements of his hands, as if really capable of creating worlds and giving life to a person. Titanic strength, intellect, clairvoyant wisdom and sublime beauty characterize the images of the prophets: deeply mournful Jeremiah, poetically inspired Isaiah, the mighty Cuma Sibyl, the beautiful young Delphic Sibyl. The characters created by Michelangelo have an enormous power of generalization; for each character he finds a special pose, turn, movement, gesture.

If tragic thoughts were embodied in individual images of the prophets, then in the images of naked youths, the so-called slaves, a feeling of the joy of being, irrepressible strength and energy is conveyed. Their figures, presented in complex foreshortenings, in movements, receive the richest plastic development. All of them, without destroying the plane of the vaults, enrich them, reveal tectonics, enhancing the overall impression of harmony. The combination of grandiose scales, severe power of action, beauty and composure of color gives rise to a feeling of freedom and confidence in the triumph of man.