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Artists of Italy
Michelangelo Buonarroti Paintings, frescoes, sculptures
A B C G D E F Z I K L M N O P R S T U F X C H W E Y I
Michelangelo Buonarroti Sistine Chapel Flood (fragment) Michelangelo Buonarroti (Michelangelo Buonarroti; otherwise Michelagnolo di Lodovico di Lionardo di Buonarroto Simoni) (1475-1564), Italian sculptor, painter, architect and poet.
Michelangelo's art embodies with great expressive power both the deeply human ideals of the High Renaissance, full of heroic pathos, and the tragic sense of the crisis of the humanistic worldview, characteristic of the late Renaissance era.
Michelangelo Buonarroti studied in Florence in the workshop of Domenico Ghirlandaio (1488-1489) and with the sculptor Bertoldo di Giovanni (1489-1490), but his acquaintance with the works of Giotto, Donatello, Masaccio, Jacopo della Quercia, and the study of ancient plastic monuments were of decisive importance for Michelangelo's creative development.
Already in the works of youth (reliefs "Madonna at the Stairs”, "Battle of the Centaurs", about 1490-1492, Casa Buonarroti, Florence), the main features of the sculptor's work were determined - monumentality and plastic power, internal tension and drama of images, reverence for human beauty.
Working in Rome in the late 1490s, Michelangelo paid tribute to his passion for ancient sculpture in the statue "Bacchus “(1496-1497, National Museum, Florence); he introduced a new humanistic content, vivid persuasiveness of images into the canonical scheme of the group” Mourning for Christ" (around 1498, St. Peter's Cathedral, Rome).
Michelangelo Buonarroti Sistine Chapel Delphic Sibyl
The Libyan Sibyl
The Eritrean Sibyl
The Cuman Sibyl
The Persian Sibyl
In 1501, Michelangelo returned to Florence, where he created a colossal statue “David” (1501-1504, Accademia Gallery, Florence), embodying the heroic impulse and civic valor of the Florentines who threw off the yoke of the Medici tyranny.
In 1505, Pope Julius II invited Michelangelo to Rome and entrusted him with the creation of his own tomb.
For the tomb of Julius II, completed only in 1545 (the church of San Pietro in Vincoli in Rome), Michelangelo created a number of statues, including the mighty will, titanic strength and temperament of " Moses "(1515-1516), filled with the tragedy of "The Dying Slave" and “The Rebellious Slave” (1516, Louvre).
And also four unfinished figures of slaves (1532-1534), in which the process of the sculptor's work is clearly visible, boldly delving into the stone block in some places and leaving other places almost untreated.
In the painting cycle executed by Michelangelo on the vault of the Sistine Chapel in the Vatican, the artist created a grandiose, solemn, easily visible composition in general and in detail, perceived as a hymn to physical and spiritual beauty, as an affirmation of the boundless creative possibilities of God and man created in his likeness.
The fresco "The Last Judgment" In the most difficult conditions, for four years, from 1508 to 1512, Michelangelo worked, having completed the entire painting of the huge ceiling (600 square meters of area) with his own hand.
In accordance with the architecture of the chapel, he divided the arch that overlaps it into a number of fields, placing nine compositions on subjects from the Bible about the creation of the world and the first people on earth in a wide central field.
“The separation of light from darkness”, "The Creation of Adam”," The Creation of Eve”, "The Fall”," The Flood”, " The Intoxication of Noah” , etc.
On the sides of them, on the slopes of the huge vault, there are figures of prophets and sibyls (soothsayers), at the corners of the fields — naked young men sitting; in the sails of the vault, timbers and lunettes above the windows — episodes from the Bible and the so called ancestors of Christ.
The Last Judgment (fragment)
Fresco "Separation of light from darkness"
Detail of the painting "The Creation of Adam" The grandiose ensemble, including more than three hundred figures, seems to be an inspired hymn to the beauty, power, reason of man, glorification of his creative genius and heroic deeds.
Even in the image of God a majestic, powerful elder, the creative impulse is emphasized first of all, expressed in the movements of his hands, as if they are really capable of creating worlds and giving life to a person.
Titanic strength, perspicacious wisdom and sublime beauty characterize the images of the prophets: reading the books of Zechariah and Daniel, the deeply thoughtful sorrowful Jeremiah, the poetically inspired Isaiah, the mighty Cuman sibyl, the beautiful young Delphic sibyl.
A fragment of the painting of the Sistine Chapel vault, the characters created by Michelangelo have a great power of generalization; for each character, he finds a special pose, turn, movement, gesture.
Sistine Chapel An expanded panorama of Michelangelo Buonarroti's painting of the chapel vault
David
Moses
Pieta Frescoes of the Sistine Chapel ceiling, like other paintings by Michelangelo, are characterized by the clarity of plastic modeling, intense expressiveness of drawing and composition, the predominance of muted refined colors in the colorful scale of the chapel.
Madonna and Child
In 1516-1534, Michelangelo Buonarroti worked in Florence on the project of the facade of the Church of San Lorenzo and on the architectural and sculptural ensemble of the tomb of the Medici family in the New Sacristy of the same church, as well as on sculptures for the tomb of Pope Julius II.
Michelangelo's worldview in the 1520s acquires a tragic character.
The deep pessimism that seized him in the face of the death of political and civil liberties in Italy, the crisis of Renaissance humanism, was reflected in the figurative structure of the sculptures of the Medici tomb - in the heavy meditation and aimless movement of the statues of Dukes Lorenzo and Giuliano, devoid of portrait features, in the dramatic symbolism of four figures depicting “Evening”, “Night”, “Morning” and “Day” and personifying the irreversibility of the passage of time.
In 1534, Michelangelo moved again to Rome, where the last 30 years of his life were spent.
The master's late paintings strike with the tragic power of images (the fresco " The Last Judgment” on the altar wall of the Sistine Chapel in the Vatican, 1536-1541), are permeated with bitter reflections on the futility of human life, on the painful hopelessness of the search for truth (partly anticipating the Baroque paintings of the Paolina Chapel in the Vatican, 1542-1550).
The Creation of Eve The Fall the Flood The Sacrifice of Noah
The Prophet Daniel The Prophet Zechariah The Prophet Ezekiel The Prophet Jeremiah The Prophet Joel The Prophet Isaiah
The last sculptural works of Michelangelo include the “Pieta " marked by the tragic expression of the artistic language for the Florence Cathedral of Santa Maria del Fiore (before 1550-1555, broken by Michelangelo and restored by his student M. Calcagni; now in the Gallery of the Academy, Florence) and the sculptural group “Pieta Rondanini” (1555-1564, Museum of Ancient Art, Milan), intended by him for his own tombstone and not finished.
Michelangelo's late work is characterized by a gradual departure from painting and sculpture and an appeal to architecture and poetry.
Since 1546, Michelangelo supervised the construction of St. Peter's Cathedral in Rome and the construction of the Capitol Square ensemble (both works were completed after his death).
The trapezoidal Capitol Square with the ancient equestrian monument of Emperor Marcus Aurelius in the center, the first Renaissance urban planning ensemble designed by one artist, is closed by the Palace of Conservatives, flanked by two symmetrically placed palaces on its sides and opens to the city with a wide staircase.
Bacchus The Dying Slave Evening (Twilight) Morning (Aurora) Chained Slave Victory
In the plan of St. Peter's Cathedral, Michelangelo, developing the ideas of Bramante and preserving the idea of centrality, strengthened the importance of the middle cross in the inner space.
During Michelangelo's lifetime, the eastern part of the cathedral was built with the base of a grandiose dome, erected in 1586-1593 by the architect Giacomo della Porta, a pupil of Michelangelo, who somewhat lengthened its proportions.
Michelangelo's lyrics are marked by the depth of thought and high tragedy.
In his madrigals and sonnets, love is interpreted as an eternal human desire for beauty and harmony, lamentations about the loneliness of the artist in a hostile world are side by side with the bitter disappointments of the humanist in the face of triumphant violence.
The work of Michelangelo, which became a brilliant final stage of the Italian Renaissance, played a huge role in the development of European art, largely prepared the formation of Mannerism, had a great influence on the formation of the principles of the Baroque.
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