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Michelangelo Alexey Dzhivelegov.
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Michelangelo
Table of contents: Librs.net Alexey Dzhivelegov Michelangelo At the sunset of the Medicean Signoria Childhood In the workshop of Ghirlandaio In the Medici gardens The first works Ideological growth The first masterpieces in Rome and Florence Michelangelo in Bologna Minor works in Florence and Rome (1495-1497) Bacchus.
Cupid.
Apollo Roman Pietà Michelangelo's family.
Return to Florence Marble David Further works in Florence by Michelangelo and Leonardo.
Madonna of the Doni Battle of Kashin.
Moving to Rome In the service of the terrible Pope Julius II and the project of his tombstone The end of the Battle of Cascina The Statue of Julius II in Bologna The work on the Sistine plafond The end of the painting How the plafond was written The description of the plafond The political situation of Italy Civil and humanistic motives of the plafond The art of the plafond The Tragedy of the tombstone The artist and the pope Under the yoke of the Medicean popes Leo X and his orders.
The facade of San Lorenzo Works in Florence by Adrian VI and the accession to the throne of Clement VII.
The Medici Chapel in San Lorenzo and Laurentiana Smuta in Italy.
The expulsion of the Medici and the Siege of Florence.
Michelangelo's political sentiments Michelangelo's role in defending Florence's work in Florence.
Moving to Rome, the Medici Chapel In the kingdom of the Catholic reaction of Paul III and the beginning of the Catholic reaction.
Work on the Last Judgment The art of Michelangelo in the Last Judgment Vittoria Colonna and Michelangelo The completion of work on the monument to Julius II Paolinskaya Chapel.
Friends and relatives of Michelangelo Michelangelo and the Medici.
Brutus Architectural works under Paul III Cathedral of St. Petra is the poetry of Michelangelo in Recent years.
Recent works.
Death Conclusion Librs.net
it represents a connecting link between the relief of Apollo and Marsyas and the great Florentine David, and in its manner and texture belongs, most likely, to these years.
It appeared from the spare funds of the Villa Borghese in Rome, where for a long time, apparently, it lay in complete neglect.
Her head is broken off and poorly adjusted, her nose and chin have fallen off, which, with insufficient careful finishing and especially with small sizes (about eighty centimeters), greatly spoils her even now.
However, even if we assume that the statuette was made at this time, yet with the creative ecstasy that Michelangelo was seized with in Rome, in the atmosphere of classical antiquity that seemed to have resurrected for him, it, together with the London Cupid, could hardly fill a whole year before the work on Bacchus began.
Michelangelo was undoubtedly doing something else.
He was engaged in painting.
Vasari says that for the cardinal barber, who wrote well with tempera, but had a poor command of drawing, he made a drawing of Francis of Assisi receiving stigmata, the Cardinal barber painted it as he could, and Vasari later saw it in one of the Roman churches.
The item has disappeared.
But it is difficult to admit that this was the only return to painting during his entire stay in Rome.
Michelangelo could not abandon this art, although he was well aware that his further path would be the path of a sculptor, not a painter.
And the fact that painting techniques still proved difficult to overcome, at least in these years, was revealed very soon in the thing that not only became the most mature work of the first Roman period, but was to become one of Michelangelo's masterpieces in general, in the Pietà, i.e. in the Mourning for Christ of St. Peter's Cathedral.
Roman Pietà
While Michelangelo was working in Rome for Jacopo Gallo, the fate of the prophet was being fulfilled in Florence.
Savonarola was an ardent lover of the people and sincerely wanted the broad masses to live better.
And he was beginning to understand why their lives were bad.
But he was a bad politician, and he was also convinced that it was possible to rule a state with the largest textile industry in the world, with all the social consequences of this fact and, above all, with the most severe class struggle, by means of persuasion, supported by references to the Bible.
and his own prophetic visions.
It is not surprising that he soon became entangled in the complex web of political events.
His supporters gave up on him.
He was captured, brought to the spiritual court and burned together with his two apostles.
We know that Michelangelo was greatly impressed by Savonarola's sermons.
Both the pathos of the monk and his stormy temperament were close to his spirit.
The artist was captivated by the purity of his thoughts and his naive belief that it is possible to penetrate the words of the gospel to the experienced Florentine merchants, or the hardened Roman prelates, or this wolf's lair in the Vatican of the Borgia family.
The news of Savonarola's tragic death, which was probably described to him in Rome in every detail, when a grandiose bonfire broke out, dried blood and entrails fell from above like rain, could not but shake him.
And he wanted to commemorate the martyr with a work that would be in tune with his ideas.
The opportunity soon presented itself.
The same Jacopo Gallo, for whom Michelangelo made Bacchus and Cupid, delivered him another order.
At that time, the Abbot of Saint Denis (in Italian, San Dionigi), an envoy of Charles VIII of France, was in Rome Jean Villiers della Grole, who has just received the cardinal's hat from Pope Alexander.
In his joy, he decided to leave the memory of himself to the city of Rome in the form of some outstanding work of art.
Gallo, who was in business relations with him as a banker, betrothed Michelangelo to him and, accordingly, during the contract, vouched for the exact fulfillment of the contract by both parties.
The artist undertook, for 450 papal ducats, to carve within a year a marble group depicting the Pietà, that is, the Virgin Mary in clothes with a dead Christ in her arms, as tall as a man, and Gallo added to this: I guarantee that the named Michelangelo will finish the named thing within a year and that this will be the best marble statue that Rome will be able to show at the present time, and that no artist today will be able to make a more perfect one.
This was not a banker's enthusiasm and showed that Gallo provided credit more easily in matters of art than when it came to ducats.
But Michelangelo fully justified the trust of his fan.
Savonarola was burned in May 1498, the contract was signed in August, and, of course, the choice of the plot of the mourning of the tortured son by the inconsolable mother belongs mainly to the artist.
Michelangelo had a premonition that Florence would still remember its prophet.
However, he did not suspect that he himself would have to take part in the struggle of his native city when the memory of Savonarola would resurrect: in the tragic days of the siege of 1529-1530.
Nor could he have suspected that in ten years the memory of the heretic would be perpetuated a second time in the papal residence by the portrait of Savonarola, which Raphael would place in his Debate among the heroes of the faith.
Michelangelo worked on his marble group for the whole of 1499 and part of 1500.
When
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