The High Renaissance


   

 
     
 Renaissance Art Map
   
         
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Michelangelo Buonarroti


Encyclopaedia Britannica


V


As soon as the ceiling was finished, Michelangelo reverted to his preferred task, the tomb of Pope Julius. In about 1513–15 he carved the “Moses,” which may be regarded as the realization in sculpture of the approach to great figures used for the prophets on the Sistine ceiling. The control of cubic density in stone evokes great reserves of strength; there is richer surface detail and modeling than before, with bulging projections sharply cut. The surface textures also have more variety than the earlier sculptures, the artist by now having found how to enrich detail without sacrificing massiveness. Of about the same date are two sculptures of bound prisoners or slaves, also part of the tomb project but never used for it, since in a subsequent revised design they were of the wrong scale. Michelangelo kept them until old age, when he gave them to a family that had helped him during an illness; they are now in the Louvre. Here again he realized in stone types painted in many variants on the ceiling, such as the pairs of nudes that hold wreaths above the prophets' thrones. The complexity of their stances, expressive of strong feeling, was unprecedented in monumental marble sculpture of the Renaissance. The only earlier works of this nature were from the Hellenistic period of classical antiquity, well known to Michelangelo through the discovery of the Laocoon group in 1506. The old man and his two adolescent sons forming that group certainly stimulated the three statues by Michelangelo as well as the related figures on the ceiling. Yet the first of the ceiling figures in 1508 were not so affected; Michelangelo utilized the Hellenistic twists and complications only when he was ready for them, and he had been moving in this direction even before the Laocoon was found, as is evident in the case of the “St. Matthew” of 1505.

Julius II's death in 1513 cut off most of the funds for his tomb. Pope Leo X, his successor, a son of Lorenzo the Magnificent, had known Michelangelo since their boyhoods. He chiefly employed Michelangelo in Florence on projects linked to the glory of the Medici family rather than of the papacy. The city was under the rule of Leo's cousin Cardinal de' Medici, who was to be Pope Clement VII from 1523 to 1534, and Michelangelo worked with him closely in both reigns. The Cardinal took an active interest in Michelangelo's works. He made detailed suggestions, but he also gave the artist much room for decision. Michelangelo was moving into architectural design with a small remodeling project at the Medici mansion and a large one at their parish church, San Lorenzo. He approached such work with enthusiasm, caused no doubt by the large scale and the involvement with masses of stone to be manipulated expressively. The larger project never materialized, but Michelangelo and the Cardinal did better with a more modest related one, the new chapel attached to the same church for tombs of the Medici family.

 

   
Tomb of Pope Julius II
 

 

 


Tomb of Julius II

1545
Marble
S. Pietro in Vincoli, Rome
 
 

 

Moses

1515
Marble, height 235 cm
S. Pietro in Vincoli, Rome

 

Moses
(detail)
1515
Marble
S. Pietro in Vincoli, Rome

 

Rachel

1545
Marble
S. Pietro in Vincoli, Rome

 

Leah

1545
Marble
S. Pietro in Vincoli, Rome

 

Slave
(dying)
c. 1513
Marble, height 229 cm
Musee du Louvre, Paris
 
 

Slave (Atlas)

1519-36
Marble, height 208 cm
Galleria dell'Accademia, Florence

 

Slave
(bearded)
1519-36
Marble, height 248 cm
Galleria dell'Accademia, Florence

 

Slave
(awakening)
1519-36
Marble, height 267 cm
Galleria dell'Accademia, Florence

 

Slave
(young)
1519-36
Marble, height 235 cm
Galleria dell'Accademia, Florence

 

Slave
(rebelling)
c. 1513
Marble, height 229 cm
Musee du Louvre, Paris
 

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