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**Michelangelo: Gifted Artist, Lover of Male Beauty, and Secret Reformer of the Church**
Secrets of the Dead
, Michelangelo Revealed is summarized here:
Throughout his masterful career, Michelangelo glorified the Catholic Church, etching its ideals into sculptures and artwork that defined religion for the masses. Now, 500 years after his death, art historian Antonio Forcellino has found evidence of
Michelangelo’s involvement with a clandestine fellowship that aimed to reform the Catholic Church from within
. The group’s radical ideas and accusations of corruption were considered heretical and punishable by death; Michelangelo’s involvement put him at dangerous odds with powerful officials who held his livelihood — and life — in their hands. “Michelangelo Revealed” examines incongruities in Michelangelo’s works, painting a stunning new picture of religious expression, personal vendettas, careful cover-ups, and a gifted artist desperately trying to reconcile his loyalty to the church with his own beliefs.
Wow! The great and revered Michelangelo involved with a group trying to “reform the Church from within”! Definitely sounds like
I can relate to! And aren’t you glad that, as a friend of mine reminded me, the “punishable by death” bit is now “off the table.” Who says the Church can’t and hasn’t changed?!
Michelangelo di Lodovico Buonarroti Simoni (1475-1564) was, of course, as one webite
, “a brilliant Italian artist who is best known for such masterpieces as the triumphant sculpture
, the controversial
, and his
on the magnificent ceiling of the Sistine Chapel. [He] was a master sculptor and a reluctant painter. Inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today.”
I remember visiting Florence with my parents in the summer of 2005 and being enthralled by the beauty of the city and by Michelangelo’s “David,” which is housed there. The original is safely indoors and, upon entering to view it, visitors are told that photography is strictly prohibited. However, as you’ll see from the images below, at least two replicas of the famed statue can be seen (and photographed) in other parts of the city.
Here’s what I wrote in my journal about my time in Florence:
Tuesday, August 30, 2005
I’ve paused in my wandering through the streets of Florence to enjoy a cool lemon soda at Caffé le Torri, a little streetside café.
One of the first places we visited upon our arrival was the gallery that houses Michelangelo’s incredible “David.” What a beautiful work of art it is. I’d never been that impressed or moved by photos of it, yet seeing it in the flesh, so to speak, is something altogether different. And in many ways, it is like seeing living human flesh – in all its detail and sensuality.
I now I sit before the church that houses the bones of Michelangelo. I feel quite tired from walking around the old city and am content to sit for a while in the shade on the pavement that is still radiating the heat of the day. And it has been a hot day – as was yesterday in Rome.
I’m on my tenth roll of film! I’ve tried to be sparing in what I photograph [during this European tour] yet find it difficult to resist some really beautiful and interesting shots. Some views, however, have remained potential shots. I’m thinking of the many beautiful European men I’ve seen on the streets, in the hotels, and in the cafés. Today, for instance, I observed a workman pausing in his labour beside his cement mixer. The man was posing naturally and beautifully – a rival to “David.” No, bettering David, for he truly breathes, moves, sweats.
Fundamental to Michelangelo’s art is his love of male beauty, which attracted him both aesthetically and emotionally. In part, this was an expression of the Renaissance idealization of masculinity.
The sculptor’s expressions of love have been characterized as both Neoplatoni and openly homoerotic; recent scholarship seeks an interpretation which respects both readings, yet is wary of drawing absolute conclusions.
Michelangelo wrote over three hundred sonnets and madrigals for one person...
The sonnets are the first large sequence of poems in any modern tongue, predating Shakespeare’s sonnets to his young friend by a good fifty years.
. . . It is impossible to know for certain whether Michelangelo had any relationships through his poetry and visual art we may at least glimpse the arc of his imagination.
Finally, Michelangelo is currently in the news as the
is reporting today that “the Kimbell Art Museum will soon be the only U.S. museum to display a Michelangelo painting after acquiring his earliest known work, a rare treasure that was tucked away and doubted as authentic for more than a century.”
The work is “The Torment of St. Anthony,” described as “a 15th-century oil and tempera painting on a wood panel that depicts scaly, horned, winged demons trying to pull the saint out of the sky.”
According to some art historians, Michelangelo painted it when he was twelve or thirteen.
Anyway, to read the news story about the Kimbell Art Museum’s acquisition of Michelangelo’s “Torment of St. Anthony,” click
Michelangelo Paints the
orn in 1475, Michelangelo's artistic talent revealed itself early in his life, often to his family's dismay. His precocious drawings would occasionally elicit beatings from his father who wished to persuade the youth to follow a more honorable and lucrative profession than that of an artist. Fortunately, Michelangelo's stubborn refusal to abandon his talent persuaded his father to apprentice him to a Florentine artist at age fourteen. Mankind was awarded a creative talent whose genius was recognized not only in his own time, but in the generations to follow.
Michelangelo's first love was sculpture. Among his early works, the
commissioned by the Vatican and
commissioned by the city of Florence proclaimed his unprecedented ability to transform marble from a slab of stone to a brilliant evocation of
from a contemporary
the human experience. By 1508 the artistic community of Rome (including the painter Raphael and Donato Bramante, architect of St. Peters) felt so threatened by Michelangelo's mercurial rise to fame that they devised a plot intended to discredit and degrade the young artist. They would persuade Pope Julius II to have Michelangelo paint the ceiling of the Vatican's Sistine Chapel. They were convinced that the young sculptor, who had never attempted a fresco before, would inevitably fail or, at the very least, become embroiled in a time consuming effort that would remove him from the competition for years.
Michelangelo at first refused, protesting that he was a sculptor, not a painter. However, Pope Julius insisted and finally prevailed. It was arduous work that required the artist to constantly paint while lying on his back atop a scaffold that raised him to within inches of the ceiling. However, Michelangelo not only overcame these obstacles, but after four years, revealed a masterpiece.
A true genius
Ascanio Condivi was one of Michelangelo's students. He was not a particularly successful artist, but he did have an intimacy with his tutor that allowed him to write a compelling biography that was published in 1553. He describes Michelangelo's experience during the four-year ordeal:
"While he was painting, Pope Julius often wanted to go and inspect the work; he would climb up by a ladder and Michelangelo would hold out a hand to him to help him up onto the scaffolding. And, being one who was by nature impetuous and impatient of waiting, as soon as the work was half done, that is from the door to midway on the vault, he wanted Michelangelo to uncover it while it was still incomplete and had not received the last touches. The opinion and the expectation which everyone had of Michelangelo brought all of Rome to see this thing, and the pope also went there before the dust raised by the dismantling of the scaffold had settled.
After this work, when Raphael had seen the new and wonderful manner of painting, as he had a remarkable gift for imitation, he sought through Bramante to paint the rest himself. This greatly disturbed Michelangelo, and before Pope Julius he gravely protested the wrong which Bramante was doing him; and in Bramante's presence he complained to the pope, unfolding to him all the persecutions he had received from Bramante; and next he exposed many of his deficiencies, and mainly that, in demolishing the old St. Peter's, Bramante was pulling down those marvelous columns which were in that temple, with no regard or concern for their being broken to pieces, when he could lower them gently and preserve them intact; and he explained that it was easy to put one brick on top of another, but that to make such a column was extremely difficult, and many other things which need not be told, so that, when the pope had heard of these derelictions, he wanted Michelangelo to continue, conferring upon him more favors than ever.
He finished this entire work in twenty months, without any help whatever, not even someone to grind his colors for him. It is true that I have heard him say that it is not finished as he would have wanted, as he was hampered by the urgency of the pope, who asked him one day when he would finish that chapel, and when Michelangelo answered, 'When I can,' the pope, enraged, retorted, 'You want me to have you thrown off the scaffolding.' Hearing this, Michelangelo said to himself, 'You shall not have me thrown off,' and he removed himself and had the scaffolding taken down, and on All Saints' Day he revealed the work, which the pope, who went to the chapel that day, saw with immense satisfaction, and all Rome admired it and crowded to see it.
Creation of Adam
from the Sistine Chapel
What was lacking was the retouching of the work a secco with ultramarine and in a few places with gold, to give it a richer appearance. Julius, when the heat of his enthusiasm had subsided, really wanted Michelangelo to furnish these touches; but, when Michelangelo thought about the trouble it would give him to reassemble the scaffolding, he answered that what was lacking was nothing of importance. 'It really ought to be retouched with gold,' answered the pope, to whom Michelangelo responded with the familiarity which was his way with His Holiness, 'I do not see that men wear gold.' The pope said, 'It will look poor' Michelangelo rejoined, 'Those who are depicted there, they were poor too.' So he remarked in jest, and so the work has remained.
For this work and for all his expenses, Michelangelo received three thousand ducats, of which he was obliged to spend about twenty or twenty-five on colors, according to what I have heard him say. After he had accomplished this work, because he had spent such a long time painting with his eyes looking up at the vault, Michelangelo then could not see much when he looked down; so that, if he had to read a letter or other detailed things, he had to hold them with his arms up over his head. Nonetheless, after a while, he gradually grew accustomed to reading again with his eyes looking down. From this we may conceive how great were the attention and diligence with which he did this work."
Condivi's account appears in: Condivi, Ascanio, The Life of Michelangelo, translated by Alice Wohl (1976); Boorstin, Daniel, The Creators (1992); Janson, W.H., History of Art (1977).
How To Cite This Article: "Michelangelo Paints the Sistine Chapel," EyeWitness to History, www.eyewitnesstohistory.com (2005).
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