Painting ID:: 56633
den yttersta domen, sixinska kapellt mk248 fresken gav anda fran borjan uppbov till kontroverser. det buvudsakliga problemet var att kristus star i stallet i stallet for att sitta, som bibeln anger, den staende stallningen forefaller vara en mer befallande stallning,men som respons pasenare lagar mot nakenbet malade en annan konstnar dit de falska rygerna, i jambojd med kristus vanstra fot sitter martyren bartolomaios ocb balleer sin egen avfladda bud, i buden finns micbelangelos sjalvportratt. new20/Michelangelo Buonarroti-836562.jpg
Painting ID:: 62878
St Anne with the Virgin and the Christ Child 1505 Pen, 254 x 177 mm Ashmolean Museum, Oxford The challenge of this subject is the placement of one grown woman on the lap of another without creating an awkward appearance. Michelangelo dealt with a similar problem already in his Roman Piete a subject which required the placement of an adult male on the lap of a woman. Artist: MICHELANGELO Buonarroti Title: St Anne with the Virgin and the Christ Child Date: 1501-1550 Italian , graphics : religious new21/Michelangelo Buonarroti-823754.jpg
Painting ID:: 62879
Study for a Madonna and Child 1533 Black chalk on paper British Museum, London Artist: MICHELANGELO Buonarroti Title: Study for a Madonna and Child Date: 1501-1550 Italian , graphics : study new21/Michelangelo Buonarroti-667245.jpg
Painting ID:: 62880
Study for the Colonna Piet 1538 Chalk Isabella Stewart Gardner Museum, Boston In 1538, three years before the completion of the Last Judgment, Michelangelo had met Vittoria Colonna. She belonged to the circle of Juan Valdes, who was striving towards an internal reform of the Catholic Church. To put it very simply, one can say that the main conviction of this theological trend was the idea of the utmost need of faith, as opposed to good deeds or sacraments, because, in the last resort, it is only divine grace which is all-powerful. These almost protestant beliefs could not conquer, or in any way change, Michelangelo because too much of his work would have had to be denied. However, they must have to some extent disrupted his firm belief, as he had expressed it in his works, that by creating perfect physical beauty he had represented the essence of the supernatural and of the divine. It is true, however, that he felt the need for divine grace, and, from this point onwards, this had great bearing on his creative life. We find evidence of this in a drawing of the Piete made for Vittoria Colonna. When compared with the 1499 Piete we see clearly that the main objective is the thought of the Compassionate Christ and of the Redemption through Christ's Blood. The work turns openly towards the onlooker to admonish him, drawing his attention to the sacrifice of Golgotha. Artist: MICHELANGELO Buonarroti Title: Study for the Colonna Piete Date: 1501-1550 Italian , graphics : study new21/Michelangelo Buonarroti-988753.jpg
Painting ID:: 62881
The Conversion of Saul 1542-45 Fresco, width of detail 114 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows soldiers on the left side of the fresco. Artist: MICHELANGELO Buonarroti Title: The Conversion of Saul (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-848628.jpg
Painting ID:: 62882
The Conversion of Saul 1542-45 Fresco, width of detail 101 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows St Paul and a soldier. Artist: MICHELANGELO Buonarroti Title: The Conversion of Saul (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-382356.jpg
Painting ID:: 62885
Battle of Cascina 1505 Cartoon Private collection In the autumn of 1504 Michelangelo was given the commission to paint a battle scene for the Palazzo della Signoria as a companion piece to Leonardo's Battle of Anghiari. This grand project came to nothing: the cartoon was finished - at least in part - by February 1505, but the urgent summons from Pope Julius II prevented Michelangelo from continuing with the work, for which only some drawings survived. This picture shows a copy of the cartoon by Aristotile da San Gallo. Artist: MICHELANGELO Buonarroti Title: Battle of Cascina (part) Date: 1501-1550 Italian , graphics : historical new21/Michelangelo Buonarroti-683376.jpg
Painting ID:: 62886
Study for a Nude 1504 Pen and ink over black chalk, 408 x 284 mm Casa Buonarroti, Florence It is assumed but not proved that Michelangelo made this study for the Battle of Cascina. Artist: MICHELANGELO Buonarroti Title: Study for a Nude Date: 1501-1550 Italian , graphics : study new21/Michelangelo Buonarroti-667622.jpg
Painting ID:: 62887
Study for the Battle of Cascina 1505-06 Chalk and silver rod on paper, 235 x 356 mm Galleria degli Uffizi, Florence The attribution of this drawing to Michelangelo is debated. Artist: MICHELANGELO Buonarroti Title: Study for the Battle of Cascina Date: 1501-1550 Italian , graphics : study new21/Michelangelo Buonarroti-834985.jpg
Painting ID:: 62888
Male Nude 1504-06 Black chalk with white highlights, 40,5 x 22,6 cm Teylers Museum, Haarlem The picture shows a male nude and two studies for The Battle of Cascina. Artist: MICHELANGELO Buonarroti Title: Male Nude Date: 1501-1550 Italian , graphics : study new21/Michelangelo Buonarroti-629742.jpg