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February 13, 2016
in the History Book
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BACK BY Michelangelo Buonarroti
Michelangelo Buonarroti
March 6, 1475 – February 18, 1564
Biography When they say that Michelangelo is a genius, they not only express a judgment about his art, but also give him a historical assessment.
Divine inspiration requires solitude and reflection.
In the history of art, Michelangelo is the first lone artist who leads an almost continuous struggle with the surrounding world, in which he feels alien and unsettled.
On Monday, March 6, 1475, in the small town of Caprese, a male child was born to Podesta (the mayor) Chiusi and Caprese.
In the family books of the ancient Buonarroti family in Florence, there is a detailed record of this event of the happy father, sealed with his signature di Lodovico di Lionardo di Buonarroti Simoni.
His father sent his son to the Francesca da Urbino school in Florence.
The boy had to learn to incline and conjugate Latin words from this first compiler of Latin grammar.
The boy was extremely inquisitive by nature, but Latin depressed him.
The teaching was getting worse and worse.
The distressed father attributed this to laziness and negligence, not believing, of course, in the vocation of his son.
He dreamed of a brilliant career for him, dreamed of seeing his son someday in the highest civil positions.
But, in the end, the father resigned himself to his son's artistic inclinations and one day, taking up a pen, wrote: "One thousand four hundred and eighty eighth year, April 1, I, Lodovico, son of Lionardo di Buonarroti, place my son Michelangelo with Domenico and David Ghirlandaio for three years from this day on the following conditions: the said Michelangelo remains with his teachers these three years, as a student, for the exercise of painting, and must, moreover, do everything that his masters order him to do; in reward for his services, Domenico and David pay him the sum of 24 florins: six in the first year, eight in the second and ten in the third; in total, 86 livres."
He did not stay in the studio of Ghirlandaio for long, because he wanted to become a sculptor, and went as an apprentice to Bertoldo, a follower of Donatello, who ran an art school in the Medici gardens on Piazza San Marco.
Biographers say that he was engaged there in drawing from old engravings, as well as copying, having achieved great success in this.
The young artist was immediately noticed by Lorenzo the Magnificent, who patronized him and introduced him to his neoplatonic circle of philosophers and writers.
Already in 1490, they began to talk about the exceptional talent of the very young Michelangelo Buonarroti.
In 1494, with the approach of the troops of Charles VI II, he left Florence, returned to it in 1495.
At the age of twenty one, Michelangelo went to Rome, and then in 1501 he returned to his native city again.
Unfortunately, there is little information about Michelangelo's early paintings.
The only completed and preserved painting by him is tondo "The Holy Family".
There are no exact documentary data about the time of the creation of this tondo.
The composition of the painting is dominated by the figure of the Madonna.
She is young and beautiful, calm and majestic.
Michelangelo did not consider it necessary to tell in more detail what caused her complex movement.
But it is precisely this movement that connects the Madonna, Joseph and the baby into one whole.
This is not an ordinary happy family.
There are no traces of intimacy here.
This is the majestic "holy family".
In 1504, the Florentine Signoria commissioned two frescoes by famous artists Leonardo da Vinci and Michelangelo to decorate the walls of the Grand Council Hall in the Palazzo Vecchio.
Leonardo made a cardboard with the image of the "Battle of Anghiari", and Michelangelo - "The Battle of Cascina".
Unlike Leonardo, Michelangelo wanted to depict in the picture not a battle, but bathing soldiers who, having heard the alarm, hurry to get out of the water.
The artist painted eighteen figures, and they are all in motion.
In 1506, both cartons were put on display.
However, the frescoes were never painted.
The cardboard "The Battle of Kashin", which was valued by contemporaries more than all other works of Michelangelo, was lost: it was cut into pieces and dispersed to different hands, until the last pieces of it disappeared without a trace.
Vasari, who saw some of its parts, says that "it was more a divine creation than a human one," and the sculptor Benvenuto Cellini, who had the opportunity to study both cartons - both Michelangelo and Leonardo - testifies that they were "a school for the whole world."
Vasari notes that Michelangelo used different techniques in his cardboard, trying to show off his perfect mastery of drawing: "There were many more figures combined in groups and sketched in different ways: the contours of some were outlined with charcoal, others were drawn with strokes, others were filled with shading, and the colors were put on them with chalk, because he (that is, Michelangelo) wanted to show all his skill in this matter."
In 1505, Pope Julius II calls Michelangelo to him.
He decided to create a worthy tomb for himself during his lifetime.
For more than thirty years, the countless complications associated with this tomb formed the tragedy of Michelangelo's life.
The project was repeatedly changed and completely reworked, until the completely exhausted artist, busy in his declining years with other orders, agreed to a smaller version of the tomb installed in the church of San Pietro in Vincoli.
In 1508, Michelangelo, on behalf of Pope Julius II, began to paint the vault of the Sistine Chapel.
Initially, Michelangelo wanted to paint the vault with small compositions, almost decorative, but then he abandoned this idea.
He creates his own painted architecture on the vault: powerful pillars seem to support the cornice and arches "thrown" across the space of the chapel.
All the spaces between these pillars and arches are occupied by images of human figures.
This "architecture" depicted by Michelangelo organizes the painting, separates one composition from another.
"The whole history of the world appears before us in the paintings of the Sistine Chapel.
In these grandiose frescoes, Michelangelo seems to create a world similar to his great soul - a gigantic, complex world full of deep feelings and experiences," writes I. Tuchkov.
The creation of this painting was painful and difficult for the artist.
Michelangelo has to build the scaffolding himself, work lying on his back.
Condivi says that when painting the Sistine Chapel, " Michelangelo so accustomed his eyes to look up at the vault that later, when the work was finished and he began to hold his head straight, he could hardly see anything; when he had to read letters and papers, he had to hold them high above his head."
Michelangelo himself thus conveys his fortune on the forests:
"The chest is like a harpy's; the skull is for my malice
He climbed to the hump; and his beard stood on end;
And from the brush on the face flows a mess,
Dressing me in brocade, like a coffin..."
The election of Leo X from the Medici family as pope in 1513 contributed to the renewal of the artist's connection with his native city.
In 1516, by order of the new pope, he developed a project for the facade of the church of San Lorenzo, built by Brunelleschi.
This was the first architectural order.
Michelangelo spends a long time in the quarries, picking up marble for upcoming works.
He begins work on the chapel, but in 1520 Pope Leo X cancels the contract.
The artist's four year works were destroyed with the stroke of a pen.
In 1524, Michelangelo began the construction of the Laurentiana Library.
The fall of the Florentine Republic marked the most disturbing period in Michelangelo's life.
Despite his firm Republican beliefs, Michelangelo could not stand the anxiety before the upcoming events: he fled to Ferrara and Venice (1529), wanted to take refuge in France.
Florence declared him a rebel and a deserter, but then forgave him and invited him to return.
Hiding and experiencing great torment, he witnessed the fall of his native city and only later timidly turned to the pope, who in 1534 commissioned him to finish the painting of the Sistine Chapel.
The artist leaves Florence forever, which has become the capital of the Duchy of Tuscany, and moves to Rome.
A year later, Pope Paul III appointed him "painter, sculptor and architect of the Vatican", and in 1536 Michelangelo began painting the altar wall of the Sistine Chapel.
He creates his most famous work, the picture "The Last Judgment", on which he worked for six years all alone.
In the center of the composition are the saints surrounding the young and formidable Christ.
They crowd around his throne, presenting evidence of the torment they have experienced.
They demand, they demand, not ask, a fair trial.
Mary clings to her son in fright, and Christ, rising from the throne, seems to push away people who are advancing on him.
No, this is not a kind and forgiving god, this is, in the words of Michelangelo himself, " the blade of judgment and the weight of anger."
Obeying his gesture, the dead rise from the bowels of the earth to stand before the court.
With iron inevitability, they rise up, some of them enter heaven, and some fall into hell.
Maddened with terror, sinners fall.
And Charon is waiting for them below to transport them to the arms of Minos.
Starting at the bottom left, the dance of human bodies, having made a circle, closes at the bottom right in the threshold of hell.
"The Last Judgment is conceived as grandiosely as possible, as the last moment before the disappearance of the universe in chaos, like a dream of the gods before its sunset," writes Bernson.
After graduating from The Last Judgment, Michelangelo reached the peak of fame among his contemporaries.
He forgot to bare his head in front of the pope, and the pope, according to his own words, did not notice this.
Popes and kings put him next to them.
From 1542 to 1550, Michelangelo created his last paintings - two frescoes of the Paolina Chapel in the Vatican.
As E. writes: Rotenberg, both frescoes are multi figure compositions with the central character depicted at a crucial moment in his life, surrounded by witnesses of this event.
Many things here look unusual for Michelangelo.
Although the frescoes themselves are quite large (the dimensions of each are 6, 2S6, 61 meters), they are no longer endowed with the scale that was previously an integral part of Michelangelo's images.
The concentration of the action is very peculiarly combined with the dispersion of the actors, who form separate episodes and separate motives within the compositions.
But this dispersion is contrasted with a single emotional tone, an expression of it is very noticeable and, in fact, forms the basis of the impact of these works on the viewer - the tone of oppressive, fettering tragedy, inextricably linked with their ideological concept.
In recent years, Michelangelo has been engaged in the project of the central plan of the church of San Giovanni dei Fiorentini, sketches the plan of the Sforza Chapel in the church of Santa Maria Maggiore, builds the Porta Pia, gives a promising monumental view of the Capitol Square.
In life, Michelangelo did not know gentle affection and participation, and this, in turn, affected his character.
"Art is jealous," he says, " and demands the whole person."
"I have a spouse to whom I belong entirely, and my children are my works."
The woman who would understand Michelangelo had to have a great mind and innate tact.
He met such a woman - Vittoria Colonna, the granddaughter of the Duke of Urbana and the widow of the famous commander the Marquis of Pescaro, but it was too late: he was already sixty years old at that time.
Vittoria was interested in science, philosophy, questions of religion, was a famous poet of the Renaissance.
They communicated for more than 10 years, exchanged poems.
Her death was a heavy loss for Michelangelo.
The friendship of Vittoria Colonna softened for him the loss of his father, and then his brothers, of whom only Lionard remained, with whom Michelangelo kept in touch until his death.
When Michelangelo died, he left a brief will; as in life, he did not like verbosity.
"I give my soul to God, my body to the earth, my property to my relatives," he dictated to his friends.
Michelangelo died on February 18, 1564.
His body is buried in the Church of Santa Croce in Florence.
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