Michelangelo (1475-1564), arguably one of the most inspired creators in the
history of art and, with Leonardo da Vinci, the most potent force in the Italian
High Renaissance. As a sculptor, architect, painter, and poet, he exerted a
tremendous influence on his contemporaries and on subsequent Western art in
general. A Florentine - although born March 6, 1475, in the small village of
Caprese near Arezzo - Michelangelo continued to have a deep attachment to his
city, its art, and its culture throughout his long life. He spent the greater
part of his adulthood in Rome, employed by the popes; characteristically,
however, he left instructions that he be buried in Florence, and his body was
placed there in a fine monument in the church of Santa Croce. Early Life in
Florence Michelangelo's father, a Florentine official named Ludovico Buonarroti
with connections to the ruling Medici family, placed his 13-year-old son in the
workshop of the painter Domenico Ghirlandaio. After about two years,
Michelangelo studied at the sculpture school in the Medici gardens and shortly
thereafter was invited into the household of Lorenzo de' Medici, the
Magnificent. There he had an opportunity to converse with the younger Medicis,
two of whom later became popes (Leo X and Clement VII). He also became
acquainted with such humanists as Marsilio Ficino and the poet Angelo Poliziano,
who were frequent visitors. Michelangelo produced at least two relief sculptures
by the time he was 16 years old, the Battle of the Centaurs and the Madonna of
the Stairs (both 1489-92, Casa Buonarroti, Florence), which show that he had
achieved a personal style at a very early age. His patron Lorenzo died in 1492;
two years later Michelangelo fled Florence, when the Medici were temporarily
Expelled. He settled for a time in Bologna, where in 1494 and 1495 he executed
several marble statuettes for the Arca (Shrine) di San Domenico in the Church of
San Domenico. First Roman Sojourn Michelangelo then went to Rome, where he was
able to examine many newly unearthed classical statues and Ruins. He soon
produced his first large-scale sculpture, the over-life-size Bacchus (1496-98,
Bargello, Florence). One of the few works of pagan rather than Christian subject
matter made by the master, it rivaled ancient Statuary, the highest mark of
admiration in Renaissance Rome. At about the same time, Michelangelo also did
the marble Pietà (1498-1500), still in its original place in Saint Peter's
Basilica. One of the most famous works of art, the Pietà was probably finished
before Michelangelo was 25 years old and it is the only work he ever signed. The
youthful Mary is shown seated majestically, holding the dead Christ across her
lap, a theme borrowed from northern European art. Instead of revealing extreme
grief, Mary is restrained, and her expression is one of resignation. In this
work, Michelangelo summarizes the sculptural innovations of his 15th-century
predecessors such as Donatello, while ushering in the new monumentality of the
High Renaissance style of the 16th century. First Return to Florence The high
point of Michelangelo's early style is the gigantic (4.34 m/14.24 ft) marble
David (Accademia, Florence), which he produced between 1501 and 1504, after
returning to Florence. The Old Testament hero is depicted by Michelangelo as a
lithe nude youth, muscular and alert, looking off into the distance as if sizing
up the enemy Goliath, whom he has not yet encountered. The fiery intensity of
David's facial expression is termed terribilità, a feature characteristic of
many of Michelangelo's figures and of his own personality. David, Michelangelo's
most famous sculpture, became the symbol of Florence and originally was placed
in the Piazza della Signoria in front of the Palazzo Vecchio, the Florentine
town hall. With this statue Michelangelo proved to his contemporaries that he
not only surpassed all modern artists, but also the Greeks and Romans, by
infusing formal beauty with powerful expressiveness and meaning. While still
occupied with the David, Michelangelo was given an opportunity to demonstrate
his ability as a painter with the commission of a mural, the Battle of Cascina,
destined for the Sala dei Cinquecento of the Palazzo Vecchio, opposite
Leonardo's Battle of Anghiari. Neither artist carried his assignment beyond the
stage of a cartoon, a full-scale preparatory drawing. Michelangelo created a
series of nude and clothed figures in a wide variety of poses and positions that
are a prelude to his next major project, the ceiling of the Sistine Chapel in
the Vatican. The Sistine Chapel Ceiling Michelangelo was recalled to Rome by
Pope Julius II in 1505 for two commissions. The most important one was for the
frescoes of the Sistine Chapel ceiling. Working high above the chapel floor,
lying on his back on scaffolding, Michelangelo painted, between 1508 and 1512,
some of the finest pictorial images of all time. On the vault of the papal
chapel, he devised an intricate system of decoration that included nine scenes
from the Book of Genesis, beginning with God Separating Light from Darkness and
including the Creation of Adam, the Creation of Eve, the Temptation and Fall of
Adam and Eve, and the Flood. These centrally located narratives are surrounded
by alternating images of prophets and sibyls on marble thrones, by other Old
Testament subjects, and by the ancestors of Christ. In order to prepare for this
enormous work, Michelangelo drew numerous figure studies and cartoons, devising
scores of figure types and poses. These awesome, mighty images, demonstrating
Michelangelo's masterly understanding of human anatomy and movement, changed the
course of painting in the West. The Tomb of Julius II Before the assignment of
the Sistine ceiling in 1505, Michelangelo had been commissioned by Julius II to
produce his tomb, which was planned to be the most magnificent of Christian
times. It was to be located in the new Basilica of St. Peter's, then under
construction. Michelangelo enthusiastically went ahead with this challenging
project, which was to include more than 40 figures, spending months in the
quarries to obtain the necessary Carrara marble. Due to a mounting shortage of
money, however, the pope ordered him to put aside the tomb project in favor of
painting the Sistine ceiling. When Michelangelo went back to work on the tomb,
he redesigned it on a much more modest scale. Nevertheless, Michelangelo made
some of his finest sculpture for the Julius Tomb, including the Moses (circa
1515), the central figure in the much reduced monument now located in Rome's
church of San Pietro in Vincoli. The muscular patriarch sits alertly in a
shallow niche, holding the tablets of the Ten Commandments, his long beard
entwined in his powerful hands. He looks off into the distance as if
communicating with God. Two other superb statues, the Bound Slave and the Dying
Slave (both c. 1510-13), Louvre, Paris, demonstrate Michelangelo's approach to
carving. He conceived of the figure as being imprisoned in the block. By
removing the excess stone, the form was released. Here, as is frequently the
case with his sculpture, Michelangelo left the statues unfinished (non-finito),
either because he was satisfied with them as is, or because he no longer planned
to use them. The Laurentian Library The project for the Julius Tomb required
architectural planning, but Michelangelo's activity as an architect only began
in earnest in 1519, with the plan for the façade (never executed) of the Church
of San Lorenzo in Florence, where he had once again taken up residence. In the
1520s he also designed the Laurentian Library and its elegant entrance hall
adjoining San Lorenzo, although these structures were finished only decades
later. Michelangelo took as a starting point the wall articulation of his
Florentine predecessors, but he infused it with the same surging energy that
characterizes his sculpture and painting. Instead of being obedient to classical
Greek and Roman practices, Michelangelo used motifs - columns, pediments, and
brackets - for a personal and expressive purpose. Michelangelo, a partisan of
the republican faction, participated in the 1527-29 war against the Medici and
supervised Florentine fortifications. The Medici Tombs While residing in
Florence for this extended period, Michelangelo also undertook - between 1519
and 1534 - the commission of the Medici Tombs for the New Sacristy of San
Lorenzo. His design called for two large wall tombs facing each other across the
high, domed room. One was intended for Lorenzo de' Medici, duke of Urbino; the
other for Giuliano de' Medici, duke of Nemours. The two complex tombs were
conceived as representing opposite types: the Lorenzo, the contemplative,
introspective personality; the Giuliano, the active, extroverted one. He placed
magnificent nude personifications of Dawn and Dusk beneath the seated Lorenzo,
Day and Night beneath Giuliano; reclining river gods (never executed) were
planned for the bottom. Work on the Medici Tombs continued long after
Michelangelo went back to Rome in 1534, although he never returned to his
beloved native city. The Last Judgment In Rome, in 1536, Michelangelo was at
work on the Last Judgment for the alter wall of the Sistine Chapel, which he
finished in 1541. The largest fresco of the Renaissance, it depicts Judgment
Day. Christ, with a clap of thunder, puts into motion the inevitable separation,
with the saved ascending on the left side of the painting and the damned
descending on the right into a Dantesque hell. As was his custom, Michelangelo
portrayed all the figures nude, but prudish draperies were added by another
artist (who was dubbed the 'breeches-maker') a decade later, as the cultural
climate became more conservative. Michelangelo painted his own image in the
flayed skin of St. Bartholomew. Although he was also given another painting
commission, the decoration of the Pauline Chapel in the 1540s, his main energies
were directed toward architecture during this phase of his life. The Campidoglio
In 1538-39 plans were under way for the remodeling of the buildings surrounding
the Campidoglio (Capitol) on the Capitoline Hill, the civic and political heart
of the city of Rome. Although Michelangelo's program was not carried out until
the late 1550s and not finished until the 17th century, he designed the
Campidoglio around an oval shape, with the famous antique bronze equestrian
statue of the Roman emperor Marcus Aurelius in the center. For the Palazzo dei
Conservatori he brought a new unity to the public building facade, at the same
time that he preserved traditional Roman monumentality. Dome of St. Peter's
Basilica Michelangelo's crowning achievement as an architect was his work at St.
Peter's Basilica, where he was made chief architect in 1546. The building was
being constructed according to Donato Bramante's plan, but Michelangelo
ultimately became responsible for the altar end of the building on the exterior
and for the final form of its dome. Michelangelo's Achievements During his long
lifetime, Michelangelo was an intimate of princes and popes, from Lorenzo de'
Medici to Leo X, Clement VIII, and Pius III, as well as cardinals, painters, and
poets. Neither easy to get along with nor easy to understand, he expressed his
view of himself and the world even more directly in his poetry than in the other
arts. Much of his verse deals with art and the hardships he underwent, or with
Neoplatonic philosophy and personal relationships. The great Renaissance poet
Ludovico Ariosto wrote succinctly of this famous artist: 'Michael more than
mortal, divine angel'. Indeed, Michelangelo was widely awarded the epithet
'divine' because of his extraordinary accomplishments. Two generations of
Italian painters and sculptors were impressed by his treatment of the human
figure: Raphael, Annibale Carracci, Pontormo, Rosso Fiorentino, Sebastiano del
Piombo, and Titian. His dome for St. Peter's became the symbol of authority, as
well as the model, for domes all over the Western world; the majority of state
capitol buildings in the U.S., as well as the Capitol in Washington, D.C., are
derived from it.