Painting ID:: 62911
Martyrdom of St Peter 1546-50 Fresco, width of detail 108 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows figures from the right side of the fresco. Artist: MICHELANGELO Buonarroti Title: Martyrdom of St Peter (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-692685.jpg
Painting ID:: 62913
Last Judgment 1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-237532.jpg
Painting ID:: 62914
Last Judgment 1537-41 Fresco Cappella Sistina, Vatican The picture shown is a detail of the lower right part depicting Charon. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-498755.jpg
Painting ID:: 62915
Ignudo 1509 Fresco Cappella Sistina, Vatican The picture shows the head of the Ignudo at the upper right corner of 1he Drunkenness of Noah (above the Delphic Sibyl). Artist: MICHELANGELO Buonarroti Title: Ignudo (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-887954.jpg
Painting ID:: 62916
The Delphic Sibyl 1509 Fresco Cappella Sistina, Vatican In the center of the face - seen frontally, half in the light and half in a moderate shadow - there are traces of a crossincised to mark the vertical axis of the oval and the alignment of the eyes. Artist: MICHELANGELO Buonarroti Title: The Delphic Sibyl (detail) Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-995227.jpg
Painting ID:: 62918
Ignudo Vatican The picture shows the Ignudo at the lower left corner of the Sacrifice of Noah (above the Erythraean Sibyl). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-548833.jpg
Painting ID:: 62919
Ignudo Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Sacrifice of Noah (above the prophet Isaiah). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-348339.jpg
Painting ID:: 62920
Ignudo 1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Creation of Eve (above the prophet Ezekiel). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-926227.jpg
Painting ID:: 62921
Ignudo 1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Creation of Eve (above the Cumaean Sibyl). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-943953.jpg
Painting ID:: 62922
The Cumaean Sibyl 1510 Fresco, 375 x 380 cm Cappella Sistina, Vatican The Cumaean Sibyl oppresses by the sheer weight of her bulk and a commanding ugliness. With the open folio bound in green and her two genii gazing at its pages over her shoulders she has become one of the Fates, a towering shape with human features. Whenever Sibyls are mentioned, the Cumaea at once comes to mind. In the art of Michelangelo and other painters her powerful presence overshadows every other Sibyl, even her younger and more beautiful sisters, such as the Delphica. Artist: MICHELANGELO Buonarroti Title: The Cumaean Sibyl Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-426387.jpg
Painting ID:: 62923
he Persian Sibyl 1511 Fresco, 400 x 380 cm Cappella Sistina, Vatican Primordial, totally detached, her eyes focused on things outside this world, and she herself almost a cave of mystery - such is the Persica of the Sistine Chapel. Something of Leonardo's chiaroscuro has crept into her composition. She is a presence still more powerful and secretive, magical and abstracted than the Cumaean Sibyl. Artist: MICHELANGELO Buonarroti Title: The Persian Sibyl Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-867846.jpg
Painting ID:: 62924
Ignudo Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Separation of the Earth from the Waters (above the Persian Sibyl). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-842425.jpg
Painting ID:: 62925
Ignudo 1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-385765.jpg
Painting ID:: 62926
Ignudo 1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious new21/Michelangelo Buonarroti-654223.jpg
Painting ID:: 62931
Exterior of the Sistine Chapel 1475-83 - Cappella Sistina, Vatican This is a reconstruction of the original design of the Sistine Chapel seen from the northwest corner, with the crenellations and chemin-de-ronde, before the addition of the buttresses on the long walls, and before the altar wall windows were closed and other buildings raised alongside. Artist: MICHELANGELO Buonarroti Painting Title: Exterior of the Sistine Chapel , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-975323.jpg
Painting ID:: 62933
Eleazar 1511-12 Fresco Cappella Sistina, Vatican In the left part of the lunette, Matthan, in the background, seems to be turning with an expression of astonishment or apprehension toward his wife, who, seated and seen in profile, plays with the child Jacob, who frisks on her knee. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-433289.jpg
Painting ID:: 62934
Eleazar 1511-12 Fresco Cappella Sistina, Vatican Eleazar, father of Matthan is generally believed to be the young man on the right. His head is seen in profile, and he appears to be immersed in his thoughts; his torso is seen frontally; his legs are crossed; his left arm is outstretched, his wrist lying across his raised right ankle, while his right arm, resting on a yellow cushion, is folded, his hand touching his shoulder. Behind him are visible the heads of a woman and a child. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-362774.jpg
Painting ID:: 62935
Jacob 1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Matthan begat Jacob. Jacob begat Joseph, the husband of Mary, of whom was born Jesus, who is called Christ." (Matthew 1:15-16) At the top of the entrance wall of the chapel, to the right of the viewer, next to the Eleazar-Matthan lunette, there is the one concluding the genealogical sequence of the ancestors of Christ in the Gospel of St Matthew. Sullen and perplexed, wrapped in a huge yellow ochre cloak and seemingly withdrawn, the old man - generally believed to be Jacob - dominates the family group on the left due to his expressive power and the quality of the colour. Similarly, on the right, the female figure, usually thought to be Mary, is more prominent than the other members of the Holy Family and the child holding a mirror. Behind Mary in the shadow, Joseph holds the Christ child, who stretches out an arm toward the round mirror held out at the height of his face by a naked female child, possibly an allegory of the Church. The compositional schemes of the two neighbouring lunettes correspond: in both there is a female figure in the foreground seen in full, or half, profile and facing the outer wall of the chapel, and a male figure, on the internal side, with his torso seen frontally. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-957236.jpg