Works Michelangelo

1 works

1.1 madonna , child
1.2 male figure
1.3 sistine chapel ceiling
1.4 figure compositions
1.5 architecture
1.6 final years

works
madonna , child

the madonna of steps michelangelo s earliest known work in marble. carved in shallow relief, technique employed master-sculptor of 15th century, donatello, , others such desiderio da settignano. while madonna in profile, easiest aspect shallow relief, child displays twisting motion become characteristic of michelangelo s work. taddeo tondo of 1502 shows christ child frightened bullfinch, symbol of crucifixion. lively form of child later adapted raphael in bridgewater madonna. bruges madonna was, @ time of creation, unlike other such statues depicting virgin proudly presenting son. here, christ child, restrained mother s clasping hand, step off world. doni tondo, depicting holy family, has elements of 3 previous works: frieze of figures in background has appearance of low-relief, while circular shape , dynamic forms echo taddeo tondo. twisting motion present in bruges madonna accentuated in painting. painting heralds forms, movement , colour michelangelo employ on ceiling of sistine chapel.

male figure

the kneeling angel work, 1 of several michelangelo created part of large decorative scheme arca di san domenico in church dedicated saint in bologna. several other artists had worked on scheme, beginning nicola pisano in 13th century. in late 15th century, project managed niccolò dell arca. angel holding candlestick, niccolò, in place. although 2 angels form pair, there great contrast between 2 works, 1 depicting delicate child flowing hair clothed in gothic robes deep folds, , michelangelo s depicting robust , muscular youth eagle s wings, clad in garment of classical style. michelangelo s angel dynamic. michelangelo s bacchus commission specified subject, youthful god of wine. sculpture has traditional attributes, vine wreath, cup of wine , fawn, michelangelo ingested air of reality subject, depicting him bleary eyes, swollen bladder , stance suggests unsteady on feet. while work plainly inspired classical sculpture, innovative rotating movement , three-dimensional quality, encourages viewer @ every angle. in so-called dying slave, michelangelo has again utilised figure marked contraposto suggest particular human state, in case waking sleep. rebellious slave, 1 of 2 such earlier figures tomb of pope julius ii, in louvre, sculptor brought finished state. these 2 works have profound influence on later sculpture, through rodin studied them @ louvre. bound slave 1 of later figures pope julius tomb. works, known collectively captives, each show figure struggling free itself, if bonds of rock in lodged. works give unique insight sculptural methods michelangelo employed , way of revealing perceived within rock.

sistine chapel ceiling

the sistine chapel ceiling painted between 1508 , 1512. ceiling flattened barrel vault supported on twelve triangular pendentives rise between windows of chapel. commission, envisaged pope julius ii, adorn pendentives figures of twelve apostles. michelangelo, reluctant take job, persuaded pope give him free hand in composition. resultant scheme of decoration awed contemporaries , has inspired other artists ever since. scheme of 9 panels illustrating episodes book of genesis, set in architectonic frame. on pendentives, michelangelo replaced proposed apostles prophets , sibyls heralded coming of messiah.

the sistine chapel ceiling (1508–12)

michelangelo began painting later episodes in narrative, pictures including locational details , groups of figures, drunkenness of noah being first of group. in later compositions, painted after initial scaffolding had been removed, michelangelo made figures larger. 1 of central images, creation of adam 1 of best known , reproduced works in history of art. final panel, showing separation of light darkness broadest in style , painted in single day. model creator, michelangelo has depicted himself in action of painting ceiling.

as supporters smaller scenes, michelangelo painted twenty youths have variously been interpreted angels, muses, or decoration. michelangelo referred them ignudi . figure reproduced may seen in context in above image of separation of light darkness. in process of painting ceiling, michelangelo made studies different figures, of some, such libyan sibyl have survived, demonstrating care taken michelangelo in details such hands , feet. prophet jeremiah, contemplating downfall of jerusalem, image of artist himself.

figure compositions

michelangelo s relief of battle of centaurs, created while still youth associated medici academy, unusually complex relief in shows great number of figures involved in vigorous struggle. such complex disarray of figures rare in florentine art, found in images showing either massacre of innocents or torments of hell. relief treatment, in of figures boldly projecting, may indicate michelangelo s familiarity roman sarcophagus reliefs collection of lorenzo medici, , similar marble panels created nicola , giovanni pisano, , figurative compositions on ghiberti s baptistry doors.

the composition of battle of cascina, known in entirety copies, original cartoon, according vasari, admired deteriorated , in pieces. reflects earlier relief in energy , diversity of figures, many different postures, , many being viewed back, turn towards approaching enemy , prepare battle.

in last judgment said michelangelo drew inspiration fresco melozzo da forlì in rome s santi apostoli. melozzo had depicted figures different angles, if floating in heaven , seen below. melozzo s majestic figure of christ, windblown cloak, demonstrates degree of foreshortening of figure had been employed andrea mantegna, not usual in frescos of florentine painters. in last judgement michelangelo had opportunity depict, on unprecedented scale, figures in action of either rising heavenward or falling , being dragged down.

in 2 frescos of pauline chapel, crucifixion of st. peter , conversion of saul, michelangelo has used various groups of figures convey complex narrative. in crucifixion of peter soldiers busy assigned duty of digging post hole , raising cross while various people on , discuss events. group of horrified women cluster in foreground, while group of christians led tall man witness events. in right foreground, michelangelo walks out of painting expression of disillusionment.

architecture

michelangelo s architectural commissions included number not realised, notably façade brunelleschi s church of san lorenzo in florence, michelangelo had wooden model constructed, remains day unfinished rough brick. @ same church, giulio de medici (later pope clement vii) commissioned him design medici chapel , tombs of giuliano , lorenzo medici. pope clement commissioned laurentian library, michelangelo designed extraordinary vestibule columns recessed niches, , staircase appears spill out of library flow of lava, according pevsner, ... revealing mannerism in sublime architectural form.

in 1546 michelangelo produced highly complex ovoid design pavement of campidoglio , began designing upper storey farnese palace. in 1547 took on job of completing st peter s basilica, begun design bramante, , several intermediate designs several architects. michelangelo returned bramante s design, retaining basic form , concepts simplifying , strengthening design create more dynamic , unified whole. although late 16th-century engraving depicts dome having hemispherical profile, dome of michelangelo s model ovoid , final product, completed giacomo della porta more so.

the final years

in old age, michelangelo created number of pietàs in apparently reflects upon mortality. heralded victory, perhaps created tomb of pope julius ii left unfinished. in group, youthful victor overcomes older hooded figure, features of michelangelo.

self-portrait of artist nicodemus

the pietà of vittoria colonna chalk drawing of type described presentation drawings , might given gift artist, , not studies towards painted work. in image, mary s upraise arms , upraised hands indicative of prophetic role. frontal aspect reminiscent of masaccio s fresco of holy trinity in basilica of santa maria novella, florence.

in florentine pietà, michelangelo again depicts himself, time aged nicodemus lowering body of jesus cross arms of mary mother , mary magdalene. michelangelo smashed left arm , leg of figure of jesus. pupil tiberio calcagni repaired arm , drilled hole in fix replacement leg not subsequently attached. worked on figure of mary magdalene.

the last sculpture michelangelo worked on (six days before death), rondanini pietà never completed because michelangelo carved away until there insufficient stone. legs , detached arm remain previous stage of work. remains, sculpture has abstract quality, in keeping 20th-century concepts of sculpture..

michelangelo died in rome in 1564, @ age of 88 (three weeks before 89th birthday). body taken rome interment @ basilica of santa croce, fulfilling maestro s last request buried in beloved florence.