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Michelangelo Buonarroti
Thursday, March 06, 2014 19: 36
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Michelangelo Buonarroti
Michelangelo Buonarroti (full name Michelangelo de Francesco de Neri de Miniato del Sera and Lodovico di Leonardo di Buonarroti Simoni, (ital.
Michelangelo di Francesci di Neri di Miniato del Sera i Lodovico di Leonardo di Buonarroti Simoni); 1475-1564) was an Italian sculptor, painter, architect, poet, thinker.
One of the greatest masters of the Renaissance.
Biography
Michelangelo was born on March 6, 1475 in the Tuscan town of Caprese near Arezzo, in the family of Lodovico Buonarroti, a city councilor.
As a child, he was brought up in Florence, then for some time he lived in the town of Settignano.
In 1488, Michelangelo's father accepted his son's inclinations and placed him as an apprentice in the studio of the artist Domenico Ghirlandaio.
He studied there for one year.
A year later, Michelangelo transferred to the school of the sculptor Bertoldo di Giovanni, which existed under the patronage of Lorenzo de ' Medici, the actual owner of Florence.
The Medici recognizes Michelangelo's talent and patronizes him.
For some time, Michelangelo lives in the Medici Palace.
After the death of the Medici in 1492, Michelangelo returns home.
In 1496, Cardinal Raphael Riario bought a marble "Cupid" by Michelangelo and invited the artist to work in Rome.
Michelangelo died on February 18, 1564 in Rome.
He was buried in the Church of Santa Croce in Florence.
Before his death, he dictated the will with all his characteristic laconicism: "I give my soul to God, my body to the earth, my property to my relatives."
Works of art
The genius of Michelangelo left an imprint not only on the art of the Renaissance, but also on the entire subsequent world culture.
His activities are mainly connected with two Italian cities Florence and Rome.
By the nature of his talent, he was primarily a sculptor.
This is also felt in the master's paintings, which are extremely rich in the plasticity of movements, complex poses, distinct and powerful modeling of volumes.
In Florence, Michelangelo created an immortal example of the High Renaissance the statue " David "(1501-1504), which became the standard of the image of the human body for many centuries, in Rome — the sculptural composition" Pieta " (1498-1499), one of the first incarnations of the figure of a dead man in plastic.
However, the artist was able to realize his most grandiose ideas in painting, where he acted as a true innovator of color and form.
Commissioned by Pope Julius II, he painted the ceiling of the Sistine Chapel (1508-1512), representing the biblical story from the creation of the world to the flood and including more than 300 figures.
In 1534-1541, in the same Sistine Chapel, he performed a grandiose, dramatic fresco "The Last Judgment"for Pope Paul III.
The architectural works of Michelangelo are striking in their beauty and grandeur — the ensemble of the Capitol Square and the dome of the Vatican Cathedral in Rome.
The arts have reached such perfection in him, which you will not find either among the ancients or among the new people for many, many years.
His imagination was so perfect and so perfect, and the things presented to him in the idea were such that it was impossible to carry out plans so great and amazing with his hands, and he often abandoned his creations, moreover, destroyed many; so, it is known that shortly before his death he burned a large number of drawings, sketches and cartons created with his own hands, so that no one could see the
- Giorgio Vasari.
"Biographies of the most famous painters, sculptors and architects."
T. V. M., 1971.
Famous works
* David.
Marble.
1501—1504.
Florence, Academy of Fine Arts.
* David.
1501—1504
* Madonna at the stairs.
Marble.
Ca.
1491.
Florence, Buonarroti Museum.
* Battle of the Centaurs.
Marble.
Ca.
1492.
Florence, Buonarroti Museum.
* Pieta.
Marble.
1498-1499.
Vatican City, St. Peter's Basilica Peter.
* Madonna and child.
Marble.
Ca.
1501.
Bruges, the Church of Notre Dame.
* Madonna of Taddei.
Marble.
Ca.
1502-1504.
London, Royal Academy of Arts.
* St. Matthew the Apostle.
Marble.
1506.
Florence, Academy of Fine Arts.
* "The Holy Family" by Madonna Doni.
1503—1504.
Florence, Uffizi Gallery.
*
The Madonna Mourning for Christ
* Madonna Pitti.
Ca.
1504-1505.
Florence, Bargello National Museum.
* Moses.
Ca.
1515.
Rome, Church of San Pietro in Vincoli.
* Tomb of Julius II.
1542-1545.
Rome, Church of San Pietro in Vincoli.
* A dying slave.
Marble.
Ca.
1513.
Paris, the Louvre.
* Winner 1530-1534
* Winner 1530-1534
*The Rebellious slave 1513-1515.
The Louvre
* The Awakening slave.
ca. 1530.
Marble.
Academy of Fine Arts, Florence
* Painting of the Sistine Chapel vault.
The prophets Jeremiah and Isaiah.
Vatican City.
* The Creation of Adam
* SISTINE CHAPEL The Last Judgment
* Apollo taking an arrow out of his quiver, also known as "David Apollo" 1530 (National Museum of Bargello, Florence)
* Madonna.
Florence, the Medici Chapel.
Marble.
1521-1534.
* Medici Library, Laurentiana Staircase 1524-1534, 1549-1559.
Florence.
* The Medici Chapel.
1520—1534.
* The tomb of Duke Giuliano.
The Medici Chapel.
1526-1533.
Florence, San Lorenzo Cathedral.
"Night"
When access to the chapel was opened, the poets composed about a hundred sonnets dedicated to these four statues.
The most famous lines of Giovanni Strozzi, dedicated to the "Night"
This is the night that sleeps so peacefully,
Before you - An angel's creation,
It is made of stone, but there is a breath in it,
Just wake her up and she'll talk.
Michelangelo answered this madrigal with a quatrain that became no less famous than the statue itself:
It is pleasant to sleep, it is more pleasant to be a stone,
Oh, in this age, criminal and shameful,
Not to live, not to feel – an enviable lot.
Please be quiet, donot you dare wake me up. (Translated by F. I. Tyutchev)
* The tomb of Duke Giuliano de ' Medici.
fragment
* The tomb of Duke Lorenzo.
The Medici Chapel.
1524-1531.
Florence, San Lorenzo Cathedral.
* Statue of Giuliano de ' Medici, Duke of Nemours, Tomb of Duke Giuliano.
The Medici Chapel.
1526—1533
* Brutus.
After 1539.
Florence, Bargello National Museum
* Christ bearing the cross
* A crouching boy.
Marble.
1530-1534.
Russia, St. Petersburg, the State Hermitage Museum.
* The Crouching Boy 1530-34 Hermitage, St. Petersburg
* Atlant.
Marble.
Between 1519, ca .
1530-1534.
Florence, Academy of Fine Arts.
"Mourning" for Vittoria Colonna
"Pieta with Nicodemus" of the Florence Cathedral 1547-1555
"The Conversion of the Apostle Paul" Villa Paolina, 1542-1550
"The Crucifixion of the Apostle Peter" Villa Paolina, 1542-1550
* The Pieta (Position in the coffin) of the Cathedral of Santa Maria del Fiore.
Marble.
Ca.
1547-1555.
Florence, Opera del Duomo Museum.
In 2007, Michelangelo's last work was found in the Vatican archives — a sketch of one of the details of the dome of St. Peter's Basilica.
The drawing, made in red chalk, is "an image of a detail of one of the radial columns that make up the drum of the dome of St. Peter's Cathedral in Rome."
It is believed that this is the last work of the famous artist, made shortly before his death in 1564.
This is not the first time that Michelangelo's works have been found in archives and museums.
So, in 2002, another drawing of the master was accidentally found in the vaults of the National Museum of Design in New York.
It was among the paintings of unknown authors of the Renaissance.
On a sheet of paper measuring 45×25 cm, the artist depicted a menorah a candlestick for seven candles.
Poetic creativity
Michelangelo is better known today as the author of beautiful statues and expressive frescoes; however, few people know that the famous artist wrote no less wonderful poems.
Michelangelo's poetic talent was fully manifested only at the end of his life.
Some of the poems of the great master were set to music and already won considerable popularity during his lifetime, but for the first time his sonnets and madrigals were published only in 1623.
About 300 poems by Michelangelo have survived to this day.
Spiritual quest and personal life
In 1536, Vittoria Colonna, Marchioness of Pescara, came to Rome, where this 47 year old widowed poetess earned the deep friendship, or rather, even the passionate love of 61 year old Michelangelo.
Soon enough, " the first, natural, fiery attraction of the artist was introduced by the Marquise of Pescara with gentle authority into the framework of restrained worship, which was only befitting her role as a secular nun, her grief for her husband who died of wounds and her philosophy of the afterlife reunion with him."
He dedicated several of his most ardent sonnets to his great platonic love, created drawings for her and spent many hours in her company.
For her, the artist wrote "The Crucifixion", which has come down to us in later copies.
The ideas of religious renewal (see the Reformation in Italy), which worried the participants of the Vittoria circle, left a deep imprint on Michelangelo's worldview of these years.
Their reflection is seen, for example, in the fresco "The Last Judgment" in the Sistine Chapel.
Interestingly, Vittoria is the only woman whose name is firmly associated with Michelangelo, whom most researchers tend to consider homo-, or at least bisexual.
According to researchers of Michelangelo's intimate life, his ardent passion for the marchioness was the fruit of a subconscious choice, since her holy lifestyle could not pose a threat to his homosexual instincts.
"He put her on a pedestal, but it is unlikely that his love for her can be called heterosexual: he called her "a man in a woman" (un uoma in una donna).
His poems to her... sometimes it is difficult to distinguish from the sonnets to the young man Tommaso Cavalieri, besides, it is known that Michelangelo himself sometimes replaced the address "signor" with "signora" before releasing his poems to the people."
(In the future, his poems were censored again by his great nephew before publication).
Her departure to Orvieto and Viterbo in 1541 due to the rebellion of her brother Ascanio Colonna against Paul III did not cause a change in her relationship with the artist, and they continued to visit each other and correspond as before.
She returned to Rome in 1544.
A friend and biographer of the artist Condivi writes:
"Especially great was the love that he had for the Marquise of Pescara, falling in love with her divine spirit and receiving from her a mad love in return.
He still keeps a lot of her letters, filled with the purest and sweetest feelings…
He himself wrote many sonnets for her, talented and full of sweet longing.
Many times she left Viterbo and other places where she went for entertainment or to spend the summer, and came to Rome only to see Michelangelo.
And he, for his part, loved her so much that, as he told me, one thing grieves him: when he came to look at her, no longer alive, he only kissed her hand, and not on her forehead or face.
Because of this death, he remained confused and as if distraught for a long time "
Biographers of the famous artist note: "The correspondence of these two remarkable people is not only of high biographical interest, but is a wonderful monument of a historical epoch and a rare example of a lively exchange of thoughts full of intelligence, subtle observation and irony."
Researchers write about sonnets dedicated to Michelangelo Vittoria: "The deliberate, forced platonism of their relationship aggravated and brought to crystallization the love philosophical warehouse of Michelangelo's poetry, which largely reflected the views and poetry of the Marquise herself, who played the role of Michelangelo's spiritual guide during the 1530s.
Their poetic "correspondence" aroused the attention of contemporaries; perhaps the most famous was sonnet 60, which became the subject of a special interpretation."
Recordings of conversations between Vittoria and Michelangelo, unfortunately, heavily processed, have been preserved in the diaries of Francesco d'olland, who is close to the spirituali circle.
POETRY
There is nothing more joyful than a fun activity:
On gold braid flowers vying with each other
Touching a cute head
And to cling with a kiss everywhere without withdrawal!
And how much pleasure for the dress
Squeeze her waist and fall down like a wave,
And how gratifying the golden grid is
Her lanita to embrace!
Even more delicate than an elegant ribbon is the ligature,
Shining with its patterned embroidery,
Closes around the Perseus of the young.
And a clean belt, gently twisting,
As if she whispers: "I will not part with her..."
Oh, how much work is here for my hands!
***
Dare I, my treasure,
To exist without you, to my torment,
Since you are deaf to pleas to soften the separation?
I donot melt with a sad heart anymore
No exclamations, no sighs, no sobs,
May I show you, Madonna, the oppression of suffering
And my death is already not far away;
But in order to rock my ministry later
I couldnot banish it from your memory, –
I leave my heart to you as a pledge.
***
There are truths in the speeches of the past,
And here is one: who can, he does not want to;
You have listened, Signor, to the fact that lies chirp,
And the talkers are rewarded by you;
I am your servant: my labors are given
You, like a ray of the sun, - even though it denigrates
Your anger is all that my fervor wants to do,
And all my suffering is unnecessary.
I thought it would take your greatness
Me to yourself is not an echo for the chambers,
And the blade of judgment and the weight of anger;
But there is an indifference to earthly merits
In heaven, and expect rewards from them –
What to expect fruits from a dry tree.
***
He who created everything created the parts –
And then I chose the best of them,
So that here you can show us the miracle of your deeds,
Worthy of his high power...
***
Night
It's sweet for me to sleep, and even more so to be a stone,
When there is shame and crime all around;
Not to feel, not to see relief,
Shut up, my friend, why wake me up?
The last sculpture of Michelangelo Buonarroti "Pieta Rondanini" 1552-1564, Milan, Castello Sforzesco
The creation of Michelangelo Buonarroti the Basilica of St. Peter.
Categories: painting
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