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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
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
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Michelangelo
in Rome, Michelangelo began at least two statues for which marble was purchased, one for the cardinal, the other for Piero de ' Medici.
What were these statues?
It has been suggested that the first of them could be the Dying Adonis of the Florentine National Museum.
But this thing is so weak that it can be recognized as the work of Michelangelo only with a very low opinion of his skill.
Nevertheless, both things were undoubtedly in the works and, judging by the creative fire that possessed Michelangelo in those years, they were most likely finished.
Where did they go?
Bacchus.
Cupid.
Apollo
In the same year, 1497, Michelangelo met the Roman banker Jacopo Gallo, who fell in love with him and his art somehow immediately and considered it his duty to immediately supply the gifted young artist with work.
Thanks to him, Michelangelo immediately received several orders that provided him so much that he completely rejected the idea of returning to Florence.
The first of these orders was a statue of Bacchus, for the Gallo courtyard.
It was started in 1497, and finished in 1499.
Jacopo's heirs then sold it to Florence, and now it is there in the National Museum.
The statue depicts a young man wearing a wreath of grapes, with a cup of wine in his right hand and a tiger skin on his left; the same left hand holds a huge bunch of grapes, which a small satyr who has secretly crept up to it secretly eats.
Bacchus stands uncertainly, not leaning properly on either leg; his stomach has leaned forward a little, and his chest has leaned back; it seems that he is about to sway.
The dull, slightly dazed look of the beautiful face is fixed with lust on the bowl.
It is not known why this wonderful and not at all divine young man in his drunkenness should depict Bacchus, that is, Dionysus, the mystery god.
The statue, no matter what Condivi says about it, who claims that it corresponds to the ideas of ancient writers in everything, is very far from these ideas.
Because of this, many people do not want to recognize its absolutely exceptional artistic merits.
Shelley, for example, said: As a work of art, a statue lacks unity and simplicity; as an image of the Greek god Dionysus, it lacks everything.
The great poet did not notice that the lack of simplicity was in the plan, and the lack of unity is very conditional.
In any case, neither real shortcomings nor imaginary ones can obscure the enormous advantages of this first large free statue of Michelangelo.
First of all, it is very realistic.
The realistic elements defeated the formally antique ones in it.
The whole head, face, eyes, arms, legs, body lives in the statue.
The artist boldly depicted a person in a state in which the ancient sculptors would never have dared.
And it is decorated in such a way that the most severe critic will not be able to find fault with anything.
No wonder, while she was in Rome, she was the subject of a constant pilgrimage to the house of Gallo, where she stood.
Bacchus was not the only statue that Jacopo acquired from Michelangelo.
The second was the one that both Condivi and Vasari call Cupid.
We do not have exact information about this statue, but most identify it with Cupid, stored in the Victoria and Albert Museum in London.
It was found in the last century in the cellars of the Florentine gardens of Rucellai, in a very bad condition: the left arm was broken, the right one was damaged.
There were traces of pistol bullets on the surface, some art lovers made a target out of Cupid.
But the first examination without reservations recognized the statue as the work of Michelangelo.
It was restored by an experienced hand and then sold to England.
Cupid is depicted as a beautiful strong young man in a very peculiar pose, not borrowed from anyone.
He has dropped to his right knee and is picking up an arrow from the ground with his right hand.
The left arm is raised high and holds the bow, and the left leg, steeply bent, rests elastically against a stone lying on the ground; it will now push off, the body will quickly straighten up, the arrow will fall on the string and fly to its destination.
The statue has not received the latest finish that Bacchus shines with: the polishing is not so thorough, the curls of hair on the head are only roughly outlined with a chisel.
And yet it is beautiful.
The pose is full of movement, both visible and even more hidden.
The face is tense, it is illuminated by thought, and it seems that a sly smile is playing on the full lips.
As in Bacchus, the ancient plot is processed very realistically.
There is an assumption that the London Cupid could be the statue that Piero de ' Medici ordered, who did not want to accept it later, and which Michelangelo finished for his own pleasure.
There are no indisputable considerations that speak against this hypothesis.
However, since Bacchus was undoubtedly made for Jacopo Gallo and even, according to Condivi, in his house, one of the things made during these years is still missing: the one that Michelangelo started for Cardinal Riario, because marble was bought, and the artist had to start working on the first Monday after July 2, 1496.
It was a human sized statue.
It is unknown to us.
It probably wasnot finished.
But another thing may belong to this time, not mentioned by contemporaries, but recently recognized without great hesitation as a work of Michelangelo's chisel.
This is a marble statuette of the Berlin Museum depicting Apollo with a violin.
By the setting of the body and by the counterpoint, she
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