Michelangelo
1475-1564
The genius was born in Italy | Youth.
Years of study.
1488-1495 / Rome.
"Pieta".
1496-1501 / Florence.
"David".
1501-1505 / Rome.
Tomb of Pope Julius II.
1505-1545 / Rome.
Frescoes of the Sistine Chapel vault.
1508-1512 / Florence.
The Medici tombs.
1516-1534 / Rome.
Late works.
"The Last Judgment".
1534-1541 / Architecture.
The Cathedral of St. Peter.
1538-1564 | site map | home page
5.
Rome.
Tomb of Pope Julius II (1505-1545)
Michelangelo's urgent departure from Florence was connected with the changes that had taken place in the political life of Italy.
Cardinal Giuliano della Rovere ascended to the papal throne under the name of Pope Julius II.
He succeeded Pope Pius III, whose pontificate lasted only a month.
The new Pope, Julius II, was the nephew of Pope Sixtus IV, by whose order a chapel was erected more than 30 years ago, named in his honor - the Sistine Chapel.
Like other pontiffs of the 1400s and 1500s, Pope Julius was not only a religious leader, but also a commander.
He spent many years fighting for the liberation of Italy from the French army.
He once made a vow not to shave his beard while at least one French soldier tramples on the land of his native country.
When he died in 1513, his beard was long and gray.
A power hungry, cunning and energetic politician in an effort to give an aura of power and power to his court attracts Raphael, Bramante, Giuliano da Sangallo — outstanding artists and architects of that time.
Regardless of the possibilities of his depleted treasury, Julius II entrusts artists with grandiose orders, the execution of which was stretched for many years or was not carried out at all.
The fame of Michelangelo, the greatest Italian sculptor, did not escape the attention of Julius II.
The post of chief architect of the Vatican in 1505 was held by the Florentine Giuliano da Sangallo, a friend of Michelangelo.
Sangallo actively attracted his fellow countrymen to the service of the pope so that they would create beautiful masterpieces for the pontiff.
Michelangelo take received an invitation from the Pope's ieni to come to Rome.
The first order of Pope Julius Michelangelo was the construction of a tomb.
The Pope wanted to secure immortality with the help of the genius of Michelangelo.
He provided the sculptor with unlimited funds and materials, without restricting his creative imagination.
For Michelangelo, such an order opened up great opportunities.
The idea captured him, and he set to work energetically.
The Second Roman period.
The project of the tomb of Pope Julius II (1505-1516)
- The beginning of work on the tomb of Julius II.
Marble preparation (1505-1506)
- Quarrel with Pope Julius II.
Third Return to Florence (1506)
- Reconciliation in Bologna.
Bronze statue of Julius II (1507)
By a strange whim of fate, the sculptor Michelangelo managed to complete only paintings that he never had a heart for.
And on the contrary, of the grandiose works that were associated with so many proud hopes and so many sorrows, some were destroyed during the artist's lifetime, others - including the tomb of Pope Julius II were a pathetic semblance of the original plan.
For many years, Michelangelo worked with great interruptions on the mausoleum of Julius II, so much effort was given, so many hardships were experienced, and all in vain.
The heirs of Pope Julius persecuted him, accusing him almost of fraud, only the patronage of Pope Clement VII saved the master from litigation.
Return to work on the tomb of Pope Julius II
Statues of the Tomb of Pope Julius II
- "Moses", marble statue (1515-1516)
- "The Dying Slave" and "The Risen Slave", marble statues (1513-1516)
"The Winner", marble sculpture group (1530-1534)
Four unfinished Statues of slaves (1532-1534)
Completion of the Tomb of Pope Julius II
Opening of the mausoleum in the church of San Pietro In Vincoli.
"Rachel" and "Leah", marble statues (1545)
"Michelangelo's main work in Rome was the tomb of Julius, which, according to the artist, was conceived not so much for the glory of Julius, but for the ideal hero of the era, his valor and enlightened greatness.
It was assumed that the huge structure would be decorated with forty figures, each of them larger than a human height.
The artist himself, without the help of students and stonemasons, was going to perform this construction.
The Master of the Renaissance competed with the Middle Ages, which built its cathedrals only by the forces of generations and for centuries" M. Alpatov.
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