Michelangelo

Michelangelo di Lodovico Buonarroti Simoni

Chalk portrait of Michelangelo by Daniele da Volterra
Birth name Michelangelo di Lodovico Buonarroti Simoni
Born March 6, 1475
near Arezzo, in Caprese, Tuscany
Died February 18, 1564
Field sculpture, painting, architecture and poetry
Training Apprentice to Domenico Ghirlandaio
Movement High Renaissance

Michelangelo di Lodovico Buonarroti Simoni (March 6, 1475 – February 18, 1564), commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet and engineer. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival and fellow Italian Leonardo da Vinci.

Michelangelo's output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and the David, were sculpted in his late twenties to early thirties. Despite his low opinion of painting, Michelangelo also created two of the most influential fresco paintings in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgement on the altar wall of the Sistine Chapel in Rome. Later in life he designed the dome of St Peter's Basilica in the same city and revolutionised classical architecture with his invention of the giant order of pilasters.

Uniquely for a Renaissance artist, two biographies were published of Michelangelo during his own lifetime. One of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino ("the divine one"), an appropriate sobriquet given his intense spirituality. One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in the next major movement in Western art after the High Renaissance, Mannerism.

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Early life

Bust of Michelangelo on the roof of St Peter's Basilica, Rome
Bust of Michelangelo on the roof of St Peter's Basilica, Rome

Michelangelo was born in Caprese near Arezzo, Tuscany. His father, Lodovico di Leonardo di Buonarotti di Simoni, was the resident magistrate in Caprese and podestà of Chiusi. His mother was Francesca di Neri del Miniato di Siena. The Buonarroti descended from Countess Matilda of Tuscany, the family was considered minor nobility. However, Michelangelo was raised in Florence and later, during the prolonged illness and after the death of his mother, lived with a stonecutter and his wife and family in the town of Settignano where his father owned a marble quarry and a small farm. Michelangelo once said to the biographer of artists Giorgio Vasari, What little good I have within me came from the pure air of your native Arezzo and the chisels and hammers.

Against his father's wishes and after a period of grammatics studies with the humanist Francesco da Urbino, Michelangelo continued his apprenticeship in painting with Domenico Ghirlandaio and in sculpture with Bertoldo di Giovanni. Michelangelo's father was able to get Ghirlandaio to pay the young artist, which was unheard of at the time. In fact, most apprentices paid their masters for the education. Impressed, Domenico recommended him to the ruler of the city, Lorenzo de' Medici, and Michelangelo left his workshop in 1489. From 1490 to 1492, Michelangelo attended Lorenzo's school and was influenced by many prominent people who modified and expanded his ideas on art, following the dominant Platonic view of that age, and even his feelings about sexuality. It was during this period that Michelangelo met literary personalities like Pico della Mirandola, Angelo Poliziano and Marsilio Ficino.

In this period Michelangelo finished Madonna of the Steps (1490–1492) and Battle of the Centaurs (1491–1492). The latter was based on a theme suggested by Poliziano and was commissioned by Lorenzo de Medici. After the death of Lorenzo on April 8, 1492, for whom Michelangelo had become a kind of son, Michelangelo quit the Medici court. In the following months he produced a Wooden crucifix (1493), as a thanksgiving gift to the prior of the church of Santa Maria del Santo Spirito who had permitted him some studies of anatomy on the corpses of the church's Hospital. Between 1493 and 1494 he bought the marble for a larger than life statue of Hercules, which was sent to France and disappeared sometime in the 1700s. He could again enter the court on January 20, 1494, Piero de Medici commissioned a snow statue from him. But that year the Medici were expelled from Florence after the Savonarola rise, and Michelangelo also left the city before the end of the political upheaval, moving to Venice and then to Bologna. He did stay in Florence for a while hiding in a small room underneath San Lorenzo that can still be visited to this day. There are still some charcoal sketches on the walls which Michelangelo drew from his memory.

Here he was commissioned to finish the carving of the last small figures of the tomb and shrine of St. Dominic, in the church with the same name. He returned to Florence at the end of 1494, but soon he fled again, scared by the turmoils and by the menace of the French invasion.

He was again in his city between the end of 1495 and the June of 1496: whereas Leonardo da Vinci considered the ruling Savonarola a fanatic and left the city, Michelangelo was touched by the friar's preaching, by the associated moral severity and by the hope of renovation of the Roman Church. In that year a marble Cupid by Michelangelo was treacherously sold to Cardinal Raffaele Riario as an ancient piece: the prelate found out that it was a fraud, but was so impressed by the quality of the sculpture that he invited the artist to Rome, where he arrived on June 26 1496. On July 4 Michelangelo started to carve an over-life-size statue of the Roman wine god, Bacchus, commissioned by Cardinal Rafaelle Riario; the work was rejected by the cardinal, and subsequently entered the collection of the banker Jacopo Galli, for his garden.

Michelangelo's Pietà was carved in 1499, when the sculptor was 24 years old.
Michelangelo's Pietà was carved in 1499, when the sculptor was 24 years old.

Subsequently, in November of 1497, the French ambassador in the Holy See commissioned one of his most famous works, the Pietà. The contemporary opinion about this work — "a revelation of all the potentialities and force of the art of sculpture" — was summarised by Vasari: "It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.see photo"

The contract was stipulated in the August of the following year. Though he devoted himself only to sculpture, during his first stay in Rome Michelangelo never stopped his daily practice of drawing. In Rome, Michelangelo lived near the church of Santa Maria di Loreto: here, according to the legends, he fell in love (probably a Platonic love) with Vittoria Colonna, marquise of Pescara and poet. His house was demolished in 1874, and the remaining architectural elements saved by new proprietors were destroyed in 1930. Today a modern reconstruction of Michelangelo's house can be seen on the Gianicolo hill.

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Michelangelo's David

Michelangelo returned to Florence in 1499–1501. Things were changing in the city after the fall of Savonarola and the rise of the gonfaloniere Pier Soderini. He was asked by the consuls of the Guild of Wool to complete a project started 40 years before by Agostino di Duccio that had never materialized: a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo replied to the commissioning by completing his most famous work, David in 1504. This masterwork definitively established his fame as sculptor for his extraordinary technical skill and the strength of his symbolic imagination.

Also during this period, Michelangelo painted the Holy Family and St John, also known as the Doni Tondo or the Holy Family of the Tribune: it was commissioned for the marriage of Angelo Doni and Maddalena Strozzi and in the 17th Century hung in the room known as the Tribune in the Uffizi. He also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery, London.

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Under Pope Julius II in Rome: the Sistine Chapel ceiling

Michelangelo was invited back to Rome in 1505 by the newly appointed Pope Julius II and was commissioned to build the Pope's tomb. However, under the patronage of Julius II, Michelangelo had to constantly stop work on the tomb in order to accomplish numerous other tasks; due to such interruptions, Michelangelo worked on the tomb for 40 years. The finished tomb is located in the Church of S. Pietro in Vincoli in Rome. One such interruption was the commission to paint the ceiling of the Sistine Chapel, which took four years to complete (1508 – 1512). According to Michelangelo's own account, reproduced in contemporary biographies, Bramante and Raphael convinced the Pope to commission Michelangelo in a medium not familiar to the artist, in order that he might be diverted from his preference for sculpture into fresco painting, and thus suffer from unfavourable comparisons with his rival Raphael. However, this story is heavily discounted by modern historians and contemporary evidence, and may be merely a reflection of his own perspective.

Michelangelo was originally employed to paint the 12 Apostles, but protested for a different scheme, and eventually completed the work with over 300 Biblical figures in a composition which has attracted many different interpretations. His figures showed the creation, the creation of Man, the creation of Woman, Adam and Eve in the Garden of Eden, the drunkenness of Noah and the Great Flood. Around the windows he painted the ancestors of Christ. On the pendentives supporting the ceiling he alternated seven Prophets of Israel with five sibyls, female prophets of the Classical world, with Jonah over the altar. On the highest section Michelangelo painted nine episodes from the Book of Genesis.

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Under Medici Popes in Florence

Michelangelo's Moses.
Michelangelo's Moses.

In 1513 Pope Julius II died and his successor Pope Leo X, a Medici, commissioned Michelangelo to reconstruct the façade of the basilica of San Lorenzo in Florence and to adorn it with sculptures. Michelangelo agreed reluctantly. The three years he spent in creating drawings and models for the facade, as well as attempting to open a new marble quarry at Pietrasanta specifically for the project, were among the most frustrating in his career, as work was abruptly cancelled by his financially-strapped patrons before any real progress had been made. The basilica lacks a facade to this day.

Apparently not the least embarrassed by this turnabout, the Medici later came back to Michelangelo with another grand proposal, this time for a family funerary chapel in the basilica of San Lorenzo. Fortunately for posterity, this project, occupying the artist for much of the 1520s and 1530s, was more fully realized. Though still incomplete, it is the best example we have of the integration of the artist's sculptural and architectural vision, since Michelangelo created both the major sculptures as well as the interior plan. Ironically the most prominent tombs are those of two rather obscure Medici who died young, a son and grandson of Lorenzo. Il Magnifico himself is buried in an unfinished and comparatively unimpressive tomb on one of the side walls of the chapel, not given a free-standing monument, as originally intended.

Michelangelo's The Last Judgement. Saint Bartholomew is shown holding the knife of his martyrdom and his flayed skin. The face of the skin is recognizable as Michelangelo.
Michelangelo's The Last Judgement. Saint Bartholomew is shown holding the knife of his martyrdom and his flayed skin. The face of the skin is recognizable as Michelangelo.

In 1527, the Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to 1529. The city fell in 1530 and the Medici were restored to power. Completely out of sympathy with the repressive reign of the ducal Medici, Michelangelo left Florence for good in the mid-1530s, leaving assistants to complete the Medici chapel. Years later his body was brought back from Rome for interment at the Basilica di Santa Croce, fulfilling the maestro's last request to be buried in his beloved Tuscany.

Michelangelo designed the dome of St. Peter's Basilica, although it was unfinished when he died.
Michelangelo designed the dome of St. Peter's Basilica, although it was unfinished when he died.
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Last works in Rome

The fresco of The Last Judgment on the altar wall of the Sistine Chapel was commissioned by Pope Clement VII, who died shortly after assigning the commission. Paul III was instrumental in seeing that Michelangelo began and completed the project. Michelangelo labored on the project from 1534 to October 1541. The work is massive and spans the entire wall behind the altar of the Sistine Chapel. The Last Judgment is a depiction of the second coming of Christ and the apocalypse; where the souls of humanity rise and are assigned to their various fates, as judged by Christ, surrounded by the Saints.

Once completed, the depictions of nakedness in the papal chapel was considered obscene and sacreligious, and Cardinal Carafa and Monsignor Sernini (Mantua's ambassador) campaigned to have the fresco removed or censored, but the Pope resisted. After Michelangelo's death, it was decided to obscure the genitals ("Pictura in Cappella Ap.ca coopriantur"). So Daniele da Volterra, an apprentice of Michelangelo, was commissioned to cover with perizomas (briefs) the genitals, leaving unaltered the complex of bodies (see details[1]). When the work was restored in 1993, the conservators chose not to remove all the perizomas of Daniele, leaving some of them as a historical document, and because some of Michelangelo’s work was previously scraped away by the touch-up artist's application of “decency” to the masterpiece. A faithful uncensored copy of the original, by Marcello Venusti, can be seen at the Capodimonte Museum of Naples.

Censorship always followed Michelangelo, once described as "inventor delle porcherie" ("inventor of obscenities", in the original Italian language referring to "pork things"). The infamous "fig-leaf campaign" of the Counter-Reformation, aiming to cover all representations of human genitals in paintings and sculptures, started with Michelangelo's works. To give two examples, the bronze [actually, marble] statue of Cristo della Minerva (church of Santa Maria sopra Minerva, Rome) was covered by a pan, as it remains today, and the statue of the naked child Jesus in Madonna of Bruges (The Church of Our Lady in Bruges, Belgium) remained covered for several decades.

In 1546, Michelangelo was appointed architect of St. Peter's Basilica in the Vatican, and designed its dome. As St. Peter's was progressing there was concern that Michelangelo would pass away before the dome was finished. However, once building commenced on the lower part of the dome, the supporting ring, the completion of the design was inevitable.

Michelangelo's own tomb, at Basilica di Santa Croce di Firenze, Florence
Michelangelo's own tomb, at Basilica di Santa Croce di Firenze, Florence
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Michelangelo the architect

The Capitoline Square, designed by Michelangelo during the same period, was located on Rome's Capitoline Hill. Its shape, more a rhomboid than a square, was intended to counteract the effects of perspective.

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Laurentian Library

Around 1530 Michelangelo designed the Laurentian Library in Florence, attached to the church of San Lorenzo. He produced new styles such as pilasters tapering thinner at the bottom, and a staircase with contrasting rectangular and curving forms.

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Medici Chapel

Michelangelo designed the Medici Chapel. The Medici Chapel has monuments in it dedicated to certain members of the Medici family. Michelangelo never finished it, so his pupils later completed it. Lorenzo the Magnificent was buried at the entrance wall of the Medici Chapel. Sculptures of the "Madonna and Child" and the Medici patron saints Cosmas and Damian were set over his burial. The "madonna and child" was Michelangelo's own work.

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Michelangelo the man

Michelangelo, who was often arrogant with others and constantly dissatisfied with himself, saw art as originating from inner inspiration and from culture. In contradiction to the ideas of his rival, Leonardo da Vinci, Michelangelo saw nature as an enemy that had to be overcome. The figures that he created are forceful and dynamic; each in its own space apart from the outside world. For Michelangelo, the job of the sculptor was to free the forms that were already inside the stone. He believed that every stone had a sculpture within it, and that the work of sculpting was simply a matter of chipping away all that was not a part of the statue.

Several anecdotes reveal that Michelangelo's skill, especially in sculpture, was greatly admired in his own time. It is said that when still a young apprentice, he had made a pastiche of a Roman statue (Il Putto Dormiente, the sleeping child or Cupid) of such beauty and perfection, that it was later sold in Rome as an ancient Roman original. In fact, he damaged the statue and buried it in order to fool the buyer, Cardinal Raffaele Riario. After the truth was revealed, the Cardinal later took this as proof of his skill and commissioned his Bacchus. Another better-known anecdote claims that when finishing the Moses (San Pietro in Vincoli, Rome), Michelangelo violently hit the knee of the statue with a hammer, shouting, "Why don't you speak to me?"

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Relationships

Fundamental to Michelangelo's art is his love of male beauty which attracted him both aesthetically and emotionally. Such feelings caused him great anguish, and he expressed the struggle between platonic ideals and carnal desire in his sculpture, drawing and his poetry, too, for among his other accomplishments Michelangelo was also a great Italian lyric poet of the 16th century.

The sculptor loved a great many youths, many of whom posed for him. Some were of high birth, like the sixteen year old Cecchino dei Bracci, whose death, only a year after their meeting in 1543, inspired the writing of forty eight funeral epigrams, some alluding to their physical relationship. Others were street wise and took advantage of the sculptor. Febbo di Poggio, in 1532, peddled his charms — in answer to Michelangelo's love poem he asks for money. Earlier, Gherardo Perini, in 1522, had stolen from him shamelessly. Nonetheless, Michelangelo defended his privacy above all. When an employee of his friend Niccolò Quaratesi offered his son as apprentice suggesting that he would be good even in bed, Michelangelo refused, suggesting Quaratesi fire the man.

His greatest male love was Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo met him in 1532, at the age of 57. Cavalieri was open to the older man's affection: I swear to return your love. Never have I loved a man more than I love you, never have I wished for a friendship more than I wish for yours. Cavalieri remained devoted to Michelangelo till his death.

Michelangelo dedicated to him over three hundred sonnets and madrigals, constituting the largest sequence of poems composed by him. Though some modern commentators assert that the relationship was merely a Platonic affection, the sonnets are the first large sequence of poems in any modern tongue addressed by one man to another, predating Shakespeare's sonnets to his young friend by a good fifty years.

I feel as lit by fire a cold countenance
That burns me from afar and keeps itself ice-chill;
A strength I feel two shapely arms to fill
Which without motion moves every balance.
— (Michael Sullivan, translation)

The homoeroticism of Michelangelo's poetry was obscured when his grand nephew, Michelangelo the Younger, published an edition of the poetry in 1623 with the gender of pronouns changed. John Addington Symonds undid this change by translating the original sonnets into English and writing a two-volume biography, published in 1893.

Late in life he nurtured a great love for the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and who was in her late forties at the time. They wrote sonnets for each other and were in regular contact until she died, though many scholars note the intellectualized or spiritual quality of this passion.

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See also

Entities named after Michelangelo include the asteroid 3001 Michelangelo and the Teenage Mutant Ninja Turtles character Michelangelo.

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References

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Further reading

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External links

Persondata
Michelangelo
Buonarroti, Michelangelo; Buonarroti, Michelangelo di Lodovico
Sculptor, painter and architect
March 6, 1475
Caprese, Italy
February 18, 1564
Rome, Italy

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