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The influence of the Medici family on the artwork of the Renaissance
The influence of the Medici family on the artwork of the Renaissance
Essay about michelangelo
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Michelangelo de Buonarotti, a distinguished painter, sculptor, architect, and poet of Italy was born in 1475 in the territory of Arezzo, in Tuscany. His time was of a new age of enlightenment where artistic and inventive freedom was beginning to come back into the forefront, Michelangelo stands as the archetype of the Renaissance genius, with a talent that transcends time and continues to influence and inspire contemporary artists. Michelangelo grew up and was first exposed to stone carving, “he regarded himself first and foremost as a sculptor.” (FIERO) Michelangelo was commissioned by Pope Julius II Della Rovere in 1508 to repaint the ceiling of the Sistine Chapel frescoed earlier by Piero Matteo d'Amelia with a star-spangled sky. Buonarroti, who had always regarded himself as a sculptor, would now have to perfect the art of fresco. Michelangelo's lament that "painting is not my art" proved a hollow objection since the pope's stubbornness was greater than his. However, like all commissions that Michelangelo initially resisted, once he reconciled himself to the task, he threw himself into it with unrestrained energy. For four years, from 1508 to 1512, Michelangelo struggled with the manifold difficulties of painting nearly ten thousand square feet of a highly irregular, leaky vault. “Michelangelo inherited an enormous project more than three decades later, in 1547 having proved himself, among his other accomplishments, the most inventive and influential architect of the century.” (BECK) He painted the Last Judgment over the altar, between 1535 and 1541, being commissioned by Pope Paul III Farnese.
The Last Judgment, which Michelangelo finished in 1541 was the largest fresco of the Renaissance, it depicts Judgment Day. The entire ceiling and the altar wall were done in pure fresco. “Michelangelo declared that he would only do it in fresco, and that oil painting was a woman’s art and only fit for lazy well-to-do people.” (DeVECCHI) This fresco covers the entire altar wall. It is filled with angels, demons, and people. The people in this fresco appear to be either going to heaven or hell. The figure in the middle appears to be Christ because he has a bright light that surrounds him. There are also many references to his crucifixion on the fresco. Michelangelo painted the figures to be both nude and some are clothed. Those figures that are nude are...
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...ll the Sack of Rome and the Reformation, and the confident humanism and Christian Neoplatonism of the Ceiling had curdled into the personal pessimism and despondency of the Judgment. “The very choice of subject is indicative of the new mood, as is the curious fact that the mouth of Hell gapes over the altar itself where, during services, stands a crucifix symbolizing Christ standing between Man and Doom.” (KING) Michelangelo’s intent was very clear, he wanted to represent what the Last Judgment would be like at this point. Michelangelo definitely was very creative when creating his subject matter; a lot of his figures are from Greek Mythology. When I compare Michelangelo’s the Last Judgment with Emperor Justinian and his Courtiers c.547, I can see how the reformation of the Classical Style has returned. The emphasis on a perfect human figure was very “Greek Like” as apposed to Justinian and his Courtiers, which is very Byzantine. Not only is it Byzantine but also the subject matter completely looses focus on Christ, he is not even represented in the mural at all. Michelangelo was clearly trying to focus on Christ for he emblems of the power to bind and to release men from sin.
Pope Julius was in fact the one to make a great and visionary choice of contracting the future renowned artist Michelangelo.” At thirty-three years of age Michelangelo was the most gifted and sought after sculptor in all of Europe. It was Julius II… early in 1505, ordered that the young sculptor come to Rome”(Rome.info,2012). Michelangelo Di Lodoivico Buonarroti Simoni born in March 6 1475. Being one of the first names you think of when you here renaissance Michelangelo was born Caprese near Arezzo, Tuscany.
Michelangelo: The Sistine Chapel Ceiling, page 73). What this sentence is basically saying is that the whole painting of the Sistine chapel was meant to embody the ideas of the religious mentality that was embedded into the minds of the people during the renaissance period. When Pope Julius II commissioned Michelangelo to paint the celling of the Sistine chapel, he wanted it to solely represent the ideals and teachings of the church, however Michelangelo portrayed some of his own thoughts into the art. Examples of this can be found all over the painting the last testament and in the book titled Michelangelo A Life in Six Masterpieces by Miles J. Unger, upon examination of the painting it is possible to see on the bottom right hand corner the Pope himself with a snake wrapped around him and being dragged to hell. Historians believed that Michelangelo painted the Pope in this way because he did not agree with the way Pope Julius II was running the church, Michelangelo and the Pope often disagreed on many different occasions whether it be on religion or just the way he talked to Michelangelo. Throughout the last testament Michelangelo actually painted homosexual men all around the painting, and he did not paint them burning in hell, instead he painted them in heaven along with Jesus
In 1520, the first Medici pope, Leo X, son of Lorenzo the Magnificent, passed the Medici project to Michelangelo, who was at the time working under pressure on his designs for the façade of San Lorenzo, the Medici Church. Michelangelo had constructed a wooden model of the projected design in the end of 1526. Michelangelo was worried about taking on the new commission, which would involve designing the Chapel with all the monuments. The construction had to match Brunelleschi’s Sacristy on the other side of the transept in the Basilica of San Lorenzo. He wanted everything about the new building; the appearance, supporting elements, conception of space, architectonic decoration and ornament, to be original and unexpected.
In April 1508 Pope Julius II hired Michelangelo to paint the ceiling of the Sistine Chapel (McNeese 87). The Sistine Chapel was where major papal ceremonies took place (Summers 11). Although Julius II just wanted Michelangelo to paint the ceiling of the chapel Michelangelo had bigger ideas. By 1513, Michelangelo had around 340 figures on the ceiling of the chapel.
They also had the use of perspective and many times real people and settings were represented. Examples of these Renaissance paintings would be Sandro Botticelli’s Birth of Venus, Raphael’s School of Athens, and Leonardo da Vinci’s The Last Supper. The Birth of Venus is a good example of humanism as the focus is Venus, the Roman goddess of love and Venus is standing contrapposto in the middle of the painting. The School of Athens is another perfect example as Greco-Roman architecture is prominent and the sculptures are painted in the contrapposto stance. The Last Supper expresses the idea that any individual had unlimited potential. Leonardo also uses facial expressions of the people to show who Christ
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
Art, by definition, is “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings”. Throughout history, one way that art has been used is to reflect a multitude of ideas and beliefs. Christian beliefs and ideas have been portrayed in artwork since the beginning of Christianity, although, it was not always acceptable to do so. The idea of the final judgement is a Christian idea that has been displayed in art repeatedly in a variety of ways. Michelangelo’s fresco the Last Judgment (1536-1541) is a piece that visualizes this idea. Since the time it was finished, this significant piece found in the Sistine Chapel has been continuously critiqued and analyzed. Many Christians struggle to interpret the event of a final judgment after reading it through Scripture. In analyzing Michelangelo’s piece, it is similar difficult to determine what he exactly meant to portray and what the various part of his masterpiece represent exactly. Many have examined this piece and made different regarding what exactly the various figures and objects are supposed to represent. The diverse interpretations of this work further shows the idea that when Christian ideas are reflected through artwork, it is hard to ascertain exactly what an artist intended to demonstrate. In addition, the controversies surrounding this piece represent the idea that when Christian ideas are revealed through art, there is potential for disagreement regarding what should and should not be included in Christian art. Michelangelo’s Last Judgment is just an example of what results when Christianity is brought into art.
Michelangelo Buonarroti is one of the greatest artists of the Renaissance times, as well as one of the greatest of all time. He did was a painter, a sculptor as well as an architect, excelling in all areas from a young age. Michelangelo’s art was a symbol of the Florence people’s cultural and political power and superiority. Michelangelo thought of himself as a divine being, meaning he thought he was perfection and no one could ever compare. To this day through, in terms of his art, this may hold some truth depending mostly on opinion. He created some of the most magnificent, and most sought after pieces of all time. Some of them are still around today for us to witness including Michelangelo’s Pieta, and one of his most famous Michelangelo’s David.
As we read through the third chapter of "The Last Judgment and The Critics" from Bernadine Barnes's Michelangelo's Last Judgment - The Renaissance Response, it is striking to see the two completely opposite views on the fresco by the sixteenth century critics, where " those who approved of it saw it as the height of Renaissance art; those who disapproved saw it as an unsuitable use of art" and that "it was censured as the work of an arrogant man, and it was justified as a work that made celestial figures more beautiful than natural" (71). The Last Judgment dealt with an especially evocative subject, and Michelangelo engaged viewers by creating highly imaginative scenes tempering fear with hope and by referring to contemporary events. The painting's original, elite audience--the papal court and a handful of distinguished lay persons--was sophisticated about art and poetry, almost exclusively male, and orthodox in its religious beliefs. That audience later broadened and included artists allowed into the Chapel to copy Michelangelo's work. These artists helped to create another, less sophisticated audience; one that knew the fresco only through reproductions and written descriptions.
In this research paper I will be looking at two different artworks by the same artist. The two I will be looking at are the Sistine Chapel Ceiling (1508-1512) and The Last Judgment (1534). Both of these painting are painted in the Sistine chapel which is located in the Vatican. I am going to attempt to evaluate these two pieces of art painted by Michelangelo and explain the cultural and religious aspects of them. I will also look to other scholars to get their perspective and their reactions to the paintings. The last step of my research will be to formulate a theory about the relationship between culture and religion and use my topic to help defend my theory.
Leonardo’s da Vinci’s “The Last Supper” is a very famous and worshipped oil painting. It was a Renaissance masterpiece full of perspective. Leonardo da Vinci was commissioned to paint “The Last Supper,” his technique and style, however, were entirely up to him. The setting of the painting was the refectory, the dining hall, of the Monastery of Santa Maria delle Grazie in Milan, Italy. The painting portrays Leonardo’s visual interpretation of the night before Christ was betrayed by one of his disciples. Christ called his disciples together to eat and tell them that he knew what was coming.
Much of the art created during the Renaissance was geared toward religion, and with Michelangelo this was no exception. By th...
The Christian Church was absolutely instrumental in the art of the Renaissance. It was the driving force behind every inspiration; without the Church, there would have been no art. The Church was the only institution powerful enough to be able to support the commissions of all of the artwork, and it was the only institution, in which people had enough faith and devotion to spend so much of their time and money creating pieces that—although beautiful—were not necessities. The role of religion in art actually began during the Byzantine era. During this time, all artwork was religious in nature, and most of it was done in a consistently similar style so that figures from the Bible could be easily recognized by everyone and so that people had a consistent view of religious matters. Art during this time was largely iconic, meant to inspire the awe of God in the viewer. Along with various versions of the crucifix, one of the most popular images of the Byzantine style was The Pantokrator, an image of Jesus Christ as shown from above. An example of one of these pieces was done in the twelfth century in the abbey church of Monreale in the city of Palermo. Jesus is a monumental figure that takes up much of the space across the apse of the Church. One of his hands forms a mudra as the other holds the scripture. His fully frontal and direct stance along with the glimmering gold background serves to strike awe and fear into the viewer. Clearly this piece was done with the intent to impress the value and mightiness of religion first and attention to the detail and technique of the art second.
Leonardo’s painting played a huge part in the Christian religion. The Last Supper is extremely old and delicate painting that is has been undergoing multiple restorations for nearly 200 years. A large part of the blame lies with Leonardo da Vinci himself of course. Idealistically he chose to complete his masterpiece with oil paint, a far less reliable medium in Renaissance times than today, rather than with the fast-drying and stable watercolor fresco technique. Within five years the painting was already crumbling ("THE LAST SUPPER, LEONARDO DA VINCI, MILAN, ITALY - INFORMATION AND BOOKING.").
...the Jewish themes and the heliocentric concept work together to show how Michelangelo felt. When looking at The Last Judgment one can feel a sense hope amidst the fear that fresco is intended to evoke. Christ centered in the middle shows his availability, no longer is he separated by hierarchies. Christ is with all of us. The Last Judgment artistically sums up the religious discourse that many church leaders, like Marin Luther, were trying to spread to the masses. Salvation is available to all, even Jews. No longer could the Church hold salvation captive, and this message was made possible because of Michelangelo’s religious and classical education. If he had not been surrounded by different schools of thought and pushed to think differently it safe to say that the Sistine Chapel that we have today may not have ever existed.