Michelangelo Biography





Born: March 6, 1475
Caprese, Italy
Died: February 18, 1564
Rome, Italy

Italian artist

Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects.

Early life

Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449–1494), the most fashionable painter in Florence at the time.

After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449–1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time.

Early works

Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction.

Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture.

Rome

After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides.

In 1498 the same banker commissioned Michelangelo to carve the Pietà now in St. Peter's. The term pietà refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Pietà contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male.

Florence

On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral.

Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art.

From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale.

Pope Julius II (1443–1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years.

Sistine Chapel

In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis.

Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility.

After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb.

Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled.

Medici Chapel

In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other.

A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed.

Poetry

Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style.

Last Judgment

In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468–1549). In 1536 Michelangelo

Michelangelo.
Michelangelo.
began the Last Judgment, for Pope Paul III, on the end wall of the Sistine Chapel. The design shows some angels pushing the damned down to hell on one side and some pulling up the saved on the other side. Both groups are directed by Christ. The flow of movement in the Last Judgment is slower than in Michelangelo's earlier work. During this time, Michelangelo also painted frescoes in the Pauline Chapel in the Vatican (1541–1545).

Works after 1545

Michelangelo devoted himself almost entirely to architecture and poetry after 1545, including rebuilding of the Capitol area, the Piazza del Campidoglio, for Pope Paul III. The pope also appointed Michelangelo to direct the work at St. Peter's in 1546. The enormous church was planned to be an equal-armed cross, with a huge central space beneath the dome. Secondary spaces and structures would produce a very active rhythm. By the time Michelangelo died, a considerable part of St. Peter's had been built in the form in which we know it.

Michelangelo's sculpture after 1545 was limited to two Pietàs that he executed for himself. The first one, begun in 1550 and left unfinished, was meant for his own tomb. He began the Rondanini Pietà in Milan in 1555, and he was working on it on February 12, 1564 when he took ill. He died six days later in Rome and was buried in Florence.

Michelangelo excelled in poetry, sculpture, painting, and architecture. He was the supreme master of representing the human body. His idealized and expressive works have been a major influence from his own time to ours.

For More Information

Beck, James H. Three Worlds of Michelangelo. New York: Norton, 1999.

Bull, George Anthony. Michelangelo: A Biography. New York: Viking, 1995.

Gilbert, Creighton. Michelangelo. New York: McGraw-Hill, 1967.

Pettit, Jayne. Michelangelo: Genius of the Renaissance. New York: Franklin Watts, 1998.



User Contributions:

blankia
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May 19, 2009 @ 2:14 pm
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Rachel
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confidential
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kevin
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Kelvin
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Apr 16, 2014 @ 6:18 pm
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Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo (Italian pronunciation: [mikeˈlandʒelo]), was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art.[1] 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 fellow Italian Leonardo da Vinci.

Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time.[1] A number of his works in painting, sculpture, and architecture rank among the most famous in existence.[1] His 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 David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At the age of 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo's design, the dome being completed after his death with some modification.

In a demonstration of Michelangelo's unique standing, he was the first Western artist whose biography was published while he was alive.[2] Two biographies were published of him during his 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").[3] 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[4] Michelangelo's impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance

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