NOTE: Free essay sample provided on this page should be used for references or sample purposes only. The sample essay is available to anyone, so any direct quoting without mentioning the source will be considered plagiarism by schools, colleges and universities that use plagiarism detection software. To get a completely brand-new, plagiarism-free essay, please use our essay writing service.
One click instant price quote
Renaissance artists expressed their ideas through various approaches and unique styles. To a certain degree, great works can be analyzed and depicted to reveal attitudes that its creators held toward lifes character. Michelangelo Buonarroti, creator of masterpieces such as David and the frescoes of the Sistine Chapel ceiling, is a great figure of the Renaissance worth studying. His character and influences in his life contribute to the changing moods depicted in his artwork and writings. He worked during three quarters of a century of tremendous change in European Society, and as an artist was supremely responsive to the hopes, fears, and values of his culture, which he both exemplified and defied (George Bull, Michelangelo: A Biography [New York, 1995 ] front flap). Throughout the course of Michelangelo's life as an artist, the evident changes observed in his works between his novice and aging years reflected the transformation that took place in his mind.
Michelangelo's three fathers played major roles in the guidance of his artistic achievements as well as personal developments. First, Lorenzo de Medici gave Michelangelo a challenging setting in his adolescence. Second, his biological father was very close to him and affected him especially after Lorenzo's death. Third, Pope Julius II became his greatest patron. He commissioned Michelangelo with pay to work on projects such as the frescoes of the Sistine Chapel and his own tomb. They affected Michelangelo in distinctive ways, but all three were crucial for the fulfillment of Michelangelo's mission as it unfolded during those eventful years (James Beck, Three Worlds of Michelangelo [New York, 1999 ] xvi).
Like every other, Michelangelo was born in equality to every human being. He was born on March 6, 1475 in Caprese, Tuscany and had always considered himself a son of Florence (web [Online/Internet, 18 October, 2000 ] Early Life 1). His birth mother, Francesca Neri, died young of sickness when he was only 6 years old (Howard Hibbard, Michelangelo: Second Edition [New York, 1974 ] 15). During his years in grammar school, his father was outraged at his idea to become an artist. Michelangelo's childhood had been grim and lacking in affection, and he was always to retain a taciturn disposition. He was known for having a quick temper and keeping to himself (Early Life 2).
Against his fathers will, he later began to study sculpture in the Medici gardens. He was invited to Lorenzo de Medicis court where he was influenced by humanists such as Mario Facing and poet Angelo Poliziano (Early Life 2). During his years at the Garden of San Marco, he studied the human body through corpses that often attacked his health. By sixteen years of age, he had already created sculptures Battle of the Centaurs and The Madonna of the Stairs, revealing his early development of personal style. Reminiscing his first two works, Michelangelo's personal diary read: Already at sixteen, my mind was a battlefield: my love of pagan beauty, the male nude, at war with my religious faith.
A polarity of themes and foregone spiritual, the other earthly, Ive kept these carvings on the walls of my studio to this very day style (Early Life 3). The early years of Michelangelo's development ended with the death of Lorenzo the Magnificent died in 1492. Michelangelo then went to Rome to examine ancient arts in Rome, as he had been captivated by antique sculpture since the time of his novice years and felt impelled to pursue its mastery (Hibbard 38). His first large-scale sculpture, Bacchus, which was carved between 1496 and 1498, reflected familiar ancient proportions in a naturalistic nude body given over to the pleasures of wine.
Although several figures of Bacchus survive from antiquity, none is so evocative of the gods mysterious, even androgynous antique character: as Condivi says, it is in the spirit of the ancient writers (Hibbard 41). His pagan work was greatly admired by Renaissance Rome. In the Piet that was placed in Saint Peters Basilica, Mary is holding the dead Christ on her lap. Her expression is held upright in restraint and resignation, not in anguish style (Early Life 4). Many believe that it reflected some values that were affected by Savonarola's recent preachings at the time. When asked why, in the Piet, Mary appears so young as opposed to her 33 year old son, Jesus, Michelangelo replied, in accordance to Savonarola's beliefs: In Paradise, thats where (Beck 114).
Free Girolamo Savonarola was a fiery preacher who had a great impact on the people of Florence during his lifetime. Some do not believe in any significant influence of his preachings on Michelangelo, while others argue that it caused a turning point in Michelangelo's religious views and thoughts (Beck 106). The animosity between Lorenzo the Magnificent and Savonarola distressed Michelangelo, as he respected them both (Beck 113). Michelangelo was never a direct follower, but read his books throughout life and told Condivi that he could still hear the ringing of the frames voice in his ears (Plumb, John H. , The Italian Renaissance [Boston, 1961 ] 195).
Many believe that other major works of Michelangelo also reflected Savonarola's influence upon him, such as the Sistine Chapel (Beck 113). After returning to Florence in 1501, Michelangelo created what was to be the finest work of his early style- David (Early Life 5). The statue represented a mixture of the various influences on Michelangelo's style (Bull 49). It portrayed his exceptional talent in infusing formal beauty with powerful expressiveness and meaning (Early Life 6). David reflected his passion for using the disturbingly sensuous male nude to express both the sculptors own feelings and the supposed emotions of the subject: Michelangelo's will to confront the world and triumph through his art, and Davids spirit of courage and fortitude against great odds (Bull 50). In Michelangelo's diary concerning this work, he writes: A civic hero, he was warning whoever governed Florence should govern justly and defend it bravely.
Eyes watchful the neck of a bull hands of a killer the body, a reservoir of energy. He stands poised to strike (Internet, Early Life 6). In April 1508, Pope Julius II summoned Michelangelo back to Rome to undertake a new painting job on the ceiling of the Sistine Chapel (Mid Years 1). The project was physically and emotionally torturous for Michelangelo. Michelangelo recounts the four year experience in a poem: On my face the paints congealing Like a skinned martyr I abut on air Bow-like, I strain toward the skies.
Defend my labors cause, good Giovanni, from all strictures: I live in hell and paint its pictures (Mid Years 3). Although, Michelangelo had experienced much suffering up until that point, it did not show significantly in his art until he worked under the commission of San Lorenzo to decorate the Medici Tombs. Working from 1519 to 1534, he abandoned the architecture of all the Florentine tombs and expressed the early signs...
Free research essays on topics related to: early life, sistine chapel, pope julius ii, lorenzo de, michelangelo
Research essay sample on Pope Julius Ii Sistine Chapel
