Michelangelo Biography
Michelangelo (1475 - 1569)
Michelangelo is certainly the most representative artist of the XVI century: a sculptor, painter, architect, and poet. He lived to a great age, and enjoyed great fame in his lifetime. Titian, and Venetian painting generally, was very much influenced by his vision, and he is responsible in large measure for the development of Mannerism.
Michelangelo di Ludovico di
Lionardo di Buonarroti Simoni was born in 1475; at Caprese, in Casentino. His
family Buonarroti Simoni, are mentioned in the Florentine chronicles as early as
the XII century. In 1488, at the age of 13, he entered the workshop of Domenico
Ghirlandaio. Thus he came under the influence of Masaccio, because his teacher,
Ghirlandaio, not only looked to Masaccio for ideas on religious scenes, but
actually imitated certain elements of his designs. After less than a year he
moved to the academy set up by Lorenzo the Magnificent. From 1489 till 1492, he
lived in the Palazzo Medici in Via Larga, where he could study “antique and good
statues” and could meet the sophisticated humanists and writers of the Medici
circle.
Lorenzo the Magnificent died
in 1492, and in 1494 the Medici were expelled from Florence. After the brief
rule of the priest Savonarola, whose ascetic religion and republican ideas
influenced the young man deeply, Michelangelo left Florence and went first to
Venice and then to Bologna, where he could absorb their art and culture. In
1496, he eventually came to
Rome and stayed there until 1501.
In 1499, he completed
Pieta for the Vatican. Christian emotion never has been more perfectly
united with classical form. Returning, famous, to Florence in 1501, Michelangelo
was commissioned by the new republican government to carve a colossal David,
symbol of resistance and independence.
In 1504, the Signoria of
Florence commissioned Leonardo da Vinci and Michelangelo to paint the walls of
the Grand Council Chamber in the Palazzo Vecchio, the seat of government of
Florence. Leonardo worked on the Battle of Anghiari and Michelangelo on the the
Battle of Cascina. Florence was immediately divided into two camps passionately
supporting one or the other. Michelangelo's work did not come further than the
cartoon for the picture, which also was destroyed in the civil conflict of 1512.
In 1505, Michelangelo was
summoned by the new Pope Julius II, to Rome and entrusted with the design of the
pope’s tomb. The original grandiose project was never carried out. Although only
3 of the 40 life-size or larger figures were executed – Moses,
Rebellious Slave (unfinished), Dying Slave – the commission dominated
most of the artist's life. Victory and Crouching Boy were also
carved for one of the projects of the tomb. The constantly aborted work on the
tomb, ended only in 1547, 40 years and 5 revised contracts later. The final
version of it is in San Pietro in Vincoli, Rome.
In 1508, Julius transferred
the artist to paint the Sistine Chapel ceiling. Michelangelo accepted the
commission, but right from the start he considered Pope Julius’ plans altogether
too simple. It was something unheard of for a patron, to allow his own plans to
be completely changed by an artist. In this case, moreover, the change of plan
meant that the work would have an entirely different meaning from the original
one.
Since he was not very
familiar with the technique of fresco, he needed the help of several Florentine
painters, as well as their advice. But his ambition to produce a work that would
be absolutely exceptional made it impossible for him to work with others, and in
the end he did the whole thing himself. This was something quite unprecedented.
Not only was the work so vast in scale, but no artist hitherto had ever
undertaken a whole cycle of frescoes without an efficient group of helpers.
Michelangelo helped to create his own legend, complaining of the enormous
difficulties of the enterprise. In his sonnet On the Painting of the Sistine
Chapel, he describes all the discomforts involved in painting a ceiling, how
he hates the place, and despairs of being a painter at all.
After the death of Julius II
in 1513, the two Medici popes, Leo X (1513-21) and Clement VII (1523-34)
preferred to keep Michelangelo well away from Rome and from the tomb of Julius
II, so that he could work on the Medici church of San Lorenzo in Florence. This
work was aborted too, although Michelangelo was able to fulfill some of his
architectural and sculptural projects in the Laurentian Library and the New
Sacristy, or Medici Chapel, of San Lorenzo. The Medici Chapel fell not far short
of being completed: two of the Medici tombs intended for the Chapel were
installed Tomb of Giuliano de' Medici and Tomb of Lorenzo de' Medici,
and for the 3rd Michelangelo had carved his last great Madonna (unfinished) when
he left Florence forever in 1534.
It was during this period,
while he was planning the tombs in the New Sacristy, that the sacking of Rome
occurred (1527), and when Florence was besieged shortly after, he helped in
fortifying the city, which finally came back into Medici hands in 1530. While
the siege was still on, he managed to get away for a while to look after his own
property. He incurred the displeasure of Alessandro de Medici, who was murdered
by Lorenzino in 1537. This event he commemorated in his bust of Brutus.
In September 1534,
Michelangelo settled down finally in Rome, and he was to stay there for the rest
of his life, despite flattering invitations from Cosimo I Medici at Florence.
The new Pope, a Farnese who took the name of Paul III, confirmed the commission
that Clement VII had already given him for a large fresco of The Last Judgment
over the altar of the Sistine Chapel. Far from being an extension of the
ceiling, this was entirely a novel statement. Between 2 projects about 20 years
had passed, full of political events and personal sorrows. The mood of The
Last Judgment is somber; the vengeful naked Christ is not a figure of
consolation, and even the Saved struggle painfully towards Salvation. The work
was officially unveiled on
31 October 1541.
Michelangelo's last
paintings were frescos of the Cappella Paolina just beside the Sistine Chapel,
completed in 1550, when he was 75 years old, The Conversion of Paul and
The Crucifixion of St. Peter.
Michelangelo's crowning
achievement, however, was architectural. In 1537-39, he received commission to
reshape Campidoglio, the top of Rome's Capitoline Hill, into a squire. Although
not completed until long after his death, the project was carried out
essentially as he had designed it. In 1546, Michelangelo was appointed architect
to St. Peter's. The cathedral was constructed according to Donato Bramante’s
plan, but Michelangelo became ultimately responsible for its dome and the altar
end of the building on the exterior.
He continued in his last years to write poetry, he carved the two extraordinary,
haunting and pathetic late Pietas, one of them The Rondanini Pieta in
Milan, on which he was working 6 days before his death. He died on 18th of
February 1564 at the age of 89 and was buried in
Florence according to his wishes.
Michelangelo's prestige stands very high nowadays, as it did in his own age. He
went out of favor for a time, especially in the 17th century, on account of a
general preference for the works of Raphael, Correggio and Titian; but with the
early Romantics in England, and the return to the Gothic, he made an impressive
return. In the 20th century the unfinished, unresolved creations of the great
master evoked especially great interest, maybe because in the 20th century “the
aesthetic focus becomes not simply the created art object, but the inextricable
relationship of the artist's personality and his work.”
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