9 Works by Michelangelo that show all the genius of the artist

Michelangelo was two great genres of Italian Renascença, and some of him survives as two major and most important artists of all times. Here we will olharemos for 9 days his main works of him.

1. Madonna da Escada

A Madonna da Escada was replaced in marble sculpted between the years 1490 and 1492. The work was finished before Michelangelo completed 17 years and when he was still studying, we were gardening two Medici, in Florença, with Bertolo di Giovanni.

Neste baixo relho is represented by Virgem sitting on a ladder securing and covering her filho, who will be asleep, as a cloak.

So you have completely scaled the rest of the background in the background, no more scaleds, we see two crianças (putti) jumping, while a third is reclined on or corrimão.

A fourth child is behind the Virgin and will be helping the recumbent child to style a lençol (allusion to the south of the Paixão de Cristo) that they both secure.

In this work stands out the classical, Hellenistic, Roman herança, and in it we find the ideia of ataraxia (concept of the Epicurist philosophy) which consists in the absence of concern of the spirit.

The difference between this concept and apathy is that an ataraxia does not cause a denial or elimination of two feelings, but it promotes happiness by trying to find forces to overcome these difficulties.

Also, Virgem is impassable in contemplating the future sacrifice of her life, not because she is not frightened, but because she must find ways to overcome this stoically.

For the realization of this low relief, Michelangelo uses a Donatello technique (1386 - 1466, Italian Renaissance sculptor), or "sticiatto" (flattened).

2. Centauromachy

Made after the Madonna da Escada, Centauromachy (Battle of the Centaurs), it was a marble relay carried out by volta of 1492, when Michelangelo was still studying Medici gardens.

Nele finds herself represented as a battle between the Centaurs and the Tombstones, when Princess Hipodâmia and Pirítoo (laughed two Lapiths), a two centaurs tried to kidnap the princess, an event that led to battle between the two parts.

The bodies are contorted and emaciated, making it difficult to distinguish between quem and quem. Some linked to others, some who have been defeated, all transmit the urgency and despair of a battle.

With this work or young Michelangelo assumes já a his obsessão as a nu, pois para el a la beauty humano was an expressão divine and for isso to contemplate a work that represents this beauty through nudez, and to contemplate the excellence of Deus.

This replacement is intentionally unfinished, something characteristic of Michelangelo's work, which it assumes also from the point of view of cede or incomplete as an aesthetic category, or "non finito".

Here only two bodies parts (mainly the trunks of the figures) are worked and polished, while the heads and feet are incomplete.

3. Pietà

Due to the death impact of Lorenzo de 'Medici in 1492, Michelangelo deixou Florença rumo to Veneza and later Bolonha, returning to Florença barely in 1495, but immediately rumored I tied Rome.

It was in Rome that in 1497 the French Cardinal Jean Bilhères de Lagraulas entrusted an artist to a Pietà in marble for the Basilica di San Pietro in the Vatican.

A Pietà by Michelangelo is a marble sculpture executed between the years 1498 and 1499, and is a further approach in the field of art in complete perfection.

Here Michelangelo breaks with the conventional and resolves to represent Virgem mais jovem que seu filho. Incredibly beautiful, she is sure Christ who is dead on her legs.

Both figures transmit serenity, and Virgem resigned contemplates or body sem life of her filho. The body of Christ is anatomically perfect, and the panejamentos are trabalhados até à perfeição.

In opposition to "non finito", this sculpture is "finite" by excellence. The entire work is exceptionally polished and finished, and perhaps Michelangelo has reached true perfection.

The artist felt proud of this sculpture that he sculpted at his assinatura (knowing that this is the only marble assinado by Michelangelo) na fita that divides or peito da virgem as words: "Michael Angelus Bonarotus Floren. faciebat ".

Check everything about a Pietà sculpture.

4. Davi

In 1501 Michelangelo returned to Florença and from his return to the birth of Davi, a sculpture in marble with more than 4 meters made between the years 1502 and 1504.

Here is the representation of Davi and before he confronts Golias, assuming that Michelangelo innovates or represents the figure not the victor, but cheia of anger and the power to confront or his oppressor.

Or Davi is a fascinating example of the motor force behind the work of this artist, wanting to escort our entirety, wanting the inner turbulence that the figure makes transparent.

This sculpture became a symbol for the city of Florença do triumph of democracy against the power of the Medici.

See a more detailed analysis of the work or Davi.

5. Tondo doni

Michelangelo and Leonardo da Vinci formed the two greatest and most expressive names of the Italian Renascença. I looked through his works inspiring and causing admiration, but in life and being contemporaries, you two never agree and collide several times.

One of the two main reasons for the clash between the artists was or was declared since Michelangelo felt like painting, especially in oil, which he considered hardly appropriate for women.

For true art was sculpture, only through physical force could excellence be obtained.

The sculpture was male, it did not allow mistakes, no revisions, on the contrary it gives oil painting, preferred technique by Leonardo, who allowed painting to be executed by layers, as well as allowing constant corrections.

For Michelangelo, painting with a fresh technique barely approached the primacy of sculpture, because be a technique executed on a fresh basis, required precision and speed, not allowing errors or correções.

Assim, I do not miss that in a few works of mobile painting attributed to the artist, or Tondo Doni, this tenha used the tempera technique on a panel in "tondo" (circle).

This work was carried out between the years 1503 and 1504. Nela is represented in a little conventional holy family.

On the other hand, Virgem seems to be tempting to grab or filho sex. For another in the family that is in the foreground, there are several nude figures.

These figures, you "Ignudi", here adolescents, will return later to be represented in another work of Michelangelo (not by Capela Sistina), but even as a more adult aspect.

6. Afrescos da Capela Sistina

In 1508 Michelangelo initiated some of his most noticeable works at the request of Pope Julius II who would go to Rome years before so that the artist could propose and make his burial mound.

Conhequed or his contempt for the paint, I was disappointed that Michelangelo did the work and during the same time redid several letters with the quais demonstrou of his discontent.

Therefore, the fruits of Capela Sistina are an impressive façanha that still dazzles and impresses the world.

Or teto

From 1508 to 1512, Michelangelo pintou or teto da Capela. This was an intensive work and not which has or total mastery of the technique of "good fresh" (fresh) wanted to do.

Because of this technique, it is necessary to paint with a solid coating, which means that the process must be quick and it cannot be corrected or repainted.

Assim, and impressive to imagine that for 4 years the artist painted a deity, a space of about 40 by 14 meters, colossal and colorful figures, trusting just not being drawn.

He softened with product runoffs that would affect his vision, as well as isolation and discomfort from the position in which he was working. More or the result of sacrifices and some higher achievements in the field of painting.

O teto is divided into 9 paintings, separated by painted false architecture. Nestes are represented dinners of the genesis, since the beginning of the history of the Homem até à vinda de Cristo, knowing that Christ is not represented by no means.

O first painél represents light being separated from trevas; The second portrays the creation of the sun, the moon and two planets; or third represents a land separated from the sea.

Or fourth tells history gives Criação de Adão; or fifth é a criação de Eva; In sixth place we see the expulsion of the paradise of Adão and Eva.

No seventh is represented or sacrificed by Noah; not oitavo or universal flood and not nono and last, to intoxication of Noah

Nas laterais two painéis are represented alternately 7 Prophets (Zacharias, Joel, Isaías, Ezequiel, Daniel, Jeremias and Jonas) and 5 Sibyls (Delphic, Eritrea, Cumana, Persian and Libyan).

Molding 5 two 9 painéis do teto, we find you "ignored", twenty male figures completely fired, in sets of 4 per panel.

The four songs of the whole are also represented as four great salvações de Israel.

O que mais sobresai nesta impressive composition of human bodies molded by architects I attached false sculptures that contaminated histories, it was expressividade, vivacity and energy that transmits.

Muscled, masculine bodies (same as feminine ones), contorted and colorful backs, spaced hair in captured movements For eternity, and that so much influence will be exercised on trends and artists that will emerge from their realization.

O Final Judgment

In 1536, more than twenty years after completion, Michelangelo returned to Capela Sistina, this time to paint on the altar wall.

As or not indicated, here the Last Judgment is represented, in a pictorial composition of about 400 bodies originally all painted to nu, including Virgem e Cristo.

Such a story raised a great controversy for years, which ended up as the covering of the intimate parts of figures by another painter, even Michelangelo was alive.

Michelangelo painted this work of proportions, more than once colossal, since more than sixty years.

Perhaps because of this, or because of disenchantment and turbulent people that or torment us, or perhaps because of the historical context as well, this work is different from two fresh fruits.

Here it weighs on top of tudo or pessimism, or disenchantment, or tragic ending of the fim. At the center is the figure of Christ as a terrifying judge that dominates the composition.

A few years after him, São Bartolomeu sure that his own skin was out of shape, not tied to his martyrdom, and no face of his skin fell and wrinkled, Michelangelo painted his own traces.

Beside Christ Virgem hides the face of his filho, and she seems to refuse to assist in the launching of doomed souls.

See a more detailed analysis of the Capela Sistina fresh fruit.

7. Tumulus of Julius II

In 1505 Michelangelo was brought to Rome by Pope Julius II whom I entrusted to him or his burial mound. Initially, in his view of him he was a great mausoleum, or that the artist was quite pleased.

Moreover, the greatness of the eminent, or Pope, of fickle personality, resolved that he wanted to be buried at Capela Sistina.

For isso first a Capela, several touch-ups are necessary, including painting the teto and the altar, daí First, Michelangelo was "forced" to paint you referred to afrescos na Capela Sistina, just as já we saw.

More or initial project for the tomb of Papa sofreria other modifications and concessions. First, as the death of the Pope in 1513, the project was reduced, and even more was left when, under the vision of Michelangelo, two brothers of the Pope collided with the ideas.

Assim, in 1516 and redirected a third contract, therefore, or project sofreria plus duas alterações in 1526 and depois in 1532. A final resolution determined that the burial mound would consist only of a façade, also as an alternative or place for the church of San Pietro in Vincoli, in Rome.

Moses

In spite of all the counterattacks related to this mound, and in no way little end that was made for to his conception has been carried out, Michelangelo worked for him during three years of form intensive.

Assim, from 1513 to 1515, Michelangelo sculpted some of the most remarkable works of his career, and a delas, or Moisés, is the one who claims a visit from Quem to San Pietro to see or mound.

O Moisés is a number of sculptures that rival in perfection with Pièta do Vaticano, and together with others, such as two prisoners or skeletons, destined to decorate or parietal burial mound.

This sculpture stands out-se a bravura e terrível olhar da figura (Terribilità), pois tal como o Davi This has an intense interior life, a force that transcends stone and was withdrawn to figure.

Imposing and caressing his long and detailed beard, Moses seems to guarantee as his olhar and expressão that all those who fail to comply will be punished, because nothing escapes divine wrath.

Prisioneiros ou Escravos

Together with Moses, a series of sculptures known as Prisioneiros ou Escravos, saíram of an intense time of labor.

Two of these works are finished, or Escravo Morrendo and Escravo Rebelde, and we are not Louvre in Paris. These will be to place the pilasters of the lower walk.

Of these highlights the sensuality of Escravo Morrendo and its posture of oil, not resistance to death.

Enquanto isso, or Escravo Rebelde, with a non-polished face and a contorted body in an installed position, he seems to be resisting to death, refusing to subjugate himself, forcing himself to leave prison.

Outras four works will result from that period and those glorificam or "non finito". At the expressive and impressive force of these works, we can see how the artist released two massive blocks of stone.

In the past year, the unfinished ones, these end up functioning as allegories for two themes that accompany and torment the entire work and life of Michelangelo: o corpo como prisão da alma.

Despite being the most beautiful of all, or body, to material, it was for the prisoner for the spirit, also as the marble blocks were prisoners for the figures that he was releasing with his cinzel.

With this group of four sculptures we see this battle being worked, and how it seems to be painful. Prisão for the figures that are charged or contorcem as weight or discomfort dessa escravidão da soul.

8. Tumuli of Lorenzo de 'Medici and Giuliano de' Medici

In 1520, Michelangelo was hired by Leão X and his cousin and future Pope Clement VII, Giulio de 'Medici, to make a funeral chapel in San Lorenzo, in Florença, to count the burial mounds of Lorenzo and Giuliano de ' Medici.

From the beginning, the projects will be enthused by an artist who with fervor guarantees to be able to carry out the same time. More various problems will arise not walking and such as no burial mound of Julio II, also for these or that initially dreamed of losing his hair path.

Or a project idealized by Michelangelo Tinha for the principle of communication between sculpture, architecture and painting. But the paintings for the burial mounds will never be made.

When two Medici burial mounds work, they rebent a revolution in Florença against the same people in this group of Michelangelo for work or work and two rioters are placed next to them.

But when the revolt was fired, or Pope perdoou-o with the condition that he resumed the work, and likewise, Michelangelo returned to work for those against whom he had revolted.

Not final, when Michelangelo left Florença once in 1524 he left for Rome, the work was left incomplete and The sculptures that will be made for him later placed in our places at Capela Medici by others.

Or that I tied the chegou leaf to nós são two gêmeos parietais burial mounds and placed face to face in Capela. From one side or from Lorenzo, who is not represented in a passive, contemplative position, thinking, approaching a figure shaped like a true Lorenzo de 'Medici will live.

On the other side of Giuliano, not his glorious soldier tempo, he is represented actively, in armor and endowed with movement. A slender leg seems to want to raise a colossal and powerful figure.

Aos after both deitam-se duas allegories, a Noite e o Dia (Tomb of Lorenzo de 'Medici), or Twilight and a Aurora (Tomb of Giuliano de' Medici).

Knowing that Dia e a Aurora is for male figures and Noite and Twilight is for female figures, and the two male allegories are unfinished, not polished.

9. The last Pietàs

Michelangelo chegou has given his life in the last years having physical strength and the need to work, especially, his spirit carries numerous regrets and torments.

Pois chegou à conclusion that during part of his life gives him a wrong ideal, or ideal of beauty and perfection to art and to an idea that through this art would be praised to Deus.

Also, his last years are turned to his other paixão, or divine, and perhaps because of his derradeiras têm works or the same theme and left unfinished forms.

A Pietà and Pietà Rondanini are two unfinished marbles, and especially Rondanini, it is deeply expressive and disturbing.

As an allegory to everything or trouble and turbulent spirit that Michelangelo brought to life all, and especially last nesses years of life and creation, the sculpture or face of Virgem carregando or filho morto, na Pietà Rondanini, as his own traços.

Abandoning the ideal of human beauty that will either pursue all of life, and saying with this work that hardly a total surrender to Deus can be found happiness and peace.

In 1564 Michelangelo died 89 years old, and at the end of the year he maintained his physical and mental capacities.

O Pope will show his death or burial in San Pietro, in Rome, plus Michelangelo before dying deixara clara sua from being buried in Florença, from where he left in 1524, returning to his city as soon as dead.

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