Painting ID:: 62936
Jacob 1511-12 Fresco Cappella Sistina, Vatican Mary, wrapped in a rose mantle which covers her yellow dress and its greenish shadows, wearing an exotic hairdress, turns toward the spectator. She is more prominent than the other members of the Holy Family behind her in the shadow: Joseph and the Christ child. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph (detail) , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-635559.jpg
Painting ID:: 62938
Achim Eliud 1511-12 Fresco Cappella Sistina, Vatican Turning toward her child, the young woman stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud (detail) , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-269446.jpg
Painting ID:: 62939
Azor Zadok 1511-12 Fresco Cappella Sistina, Vatican "Eliakim begat Azor. Azor begat Zadok. Zadok begat Achim." (Matthew 1:13-14) This is the first lunette on the north wall. The absence of information regarding the figures represented has thwarted any attempt to identify them. On the left a seated woman is shown indicating something outside the lunette to a boy (or a girl) who seems to be engrossed in writing or drawing and turns somewhat hesitantly. The woman's pose, with its great naturalness and self-possession, is a variation on the twisted head, shoulders, and legs of the other figures. On the other side of the lunette, seen sideways on, but with his head turned toward the viewer, sits a solitary mature man, his face furrowed by deep lines. Tightly wrapped in his yellow ochre mantle, from which only his head and an arm emerge, he appears to be prey to distressing thoughts. The body, modelled concisely with great plastic power by the interplay of light and shade, and the pattern of the folds of the mantle, stands out clearly against the background. The number of figures present in this lunette is half that of the first lunettes painted by Michelangelo. This sense of isolation intensifies the expressive power of the figure of the pensive man, which some interpreted as being an imaginary self-portrait of the artist. Artist: MICHELANGELO Buonarroti Painting Title: Azor - Zadok , 1501-1550 Painting Style: Italian , , religious new21/Michelangelo Buonarroti-677284.jpg
Painting ID:: 63011
Tomb of Giuliano de' Medici 1526-33 Marble, 630 x 420 cm Sagrestia Nuova, San Lorenzo, Florence Michelangelo received the commission for the Medici Chapel in 1520 from the Medici Pope Leo X (1513-23). The Pope wanted to combine the tombs of his younger brother Giuliano, Duke of Nemours, and his nephew Lorenzo, Duke of Urbino, with those of the "Magnifici", Lorenzo and his brother Giuliano, who had been murdered in 1478; their tombs were then in the Old Sacristy of San Lorenzo. The plans for the chapel which we still have, shows us that the Pope allowed Michelangelo a great freedom in his task. Not much of this vast plan was in fact carried out, yet it is enough to give us an idea of what Michelangelo's overall conception must have been. Each of the Dukes' tombs is divided into two areas, and the border is well marked by a projecting cornice. In the lower part are the sarcophagi with the mortal remains of the Dukes, on which lie Twilight and Dawn, Night and Day as the symbol of the vanity of things. Above this temporal area, the nobility of the figures of the Dukes and the subtlety of the richly decorated architecture which surrounds them represent a higher sphere: the abode of the free and redeemed spirit. Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici , 1501-1550 new21/Michelangelo Buonarroti-334853.jpg
Painting ID:: 63012
Tomb of Giuliano de' Medici 1526-33 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici (detail) , 1501-1550 new21/Michelangelo Buonarroti-952577.jpg
Painting ID:: 63013
Tomb of Lorenzo de' Medici 1524-31 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Lorenzo de' Medici (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-368358.jpg
Painting ID:: 63014
Medici Madonna 1521-31 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Medici Madonna (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-775895.jpg
Painting ID:: 63021
St Peter 1501-04 Marble Duomo, Siena Artist: MICHELANGELO Buonarroti Painting Title: St Peter , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-247886.jpg
Painting ID:: 63022
Pius 1501-04 Marble, height: 134 cm Duomo, Siena The garment of a prince of the Church in full dress cannot be dramatized in the same way as that of an apostle. Michelangelo divided up the task in Siena as a medieval master would have done: he kept the apostles in the lower register for himself; he left the popes in the register above that to Baccio da Montelupo because they are artistically less interesting and are not seen at quite such close range. Pius was particularly sacred to the Piccolomini, because in the person of Enea Silvio, who chose the name Pius II (1458-1464), they had provided their first pope. He founded the town of Pienza. Artist: MICHELANGELO Buonarroti Painting Title: Pius , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-263599.jpg
Painting ID:: 63024
St Petronius 1494 Marble, height: 64 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Petronius which echoes Donatello and Jacopo della Quercia. (The companion statue of St Proculus testifies to Michelangelo's studies of Masaccio and Donatello.) Artist: MICHELANGELO Buonarroti Painting Title: St Petronius , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-925367.jpg
Painting ID:: 63025
St Proculus 1494 Marble, height: 58,5 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Proculus which echoes Masaccio and Donatello. (The companion statue of St Petronius testifies to Michelangelo's studies of Donatello and Jacopo della Quercia.) Artist: MICHELANGELO Buonarroti Painting Title: St Proculus , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-353383.jpg
Painting ID:: 63026
Madonna and Child with the Infant Baptist 1505-06 Marble, diameter: 82,5 cm The Royal Academy of Arts, London This tondo explores the problems of composing a meaningful group within a circle, with a precise definition of the spatial planes and relationships within the picture space. The Doni Tondo, his only finished panel painting, and another marble relief, the Pitti Tondo deal with the same problems. Artist: MICHELANGELO Buonarroti Painting Title: Madonna and Child with the Infant Baptist (Taddei Tondo) , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-254627.jpg
Painting ID:: 63029
Bacchus 1497 Marble, height: 203 cm Museo Nazionale del Bargello, Florence At the age of 21 Michelangelo went to Rome for the first time. We still possess two of the works he created in this period (Bacchus and Piet?; others must have been lost for he spent five years there. The statue of Bacchus was commissioned by the banker Jacopo Galli for his garden and he wanted it fashioned after the models of the ancients. The body of this drunken and staggering god gives an impression of both youthfulness and of femininity. Vasari says that this strange blending of effects is the characteristic of the Greek god Dionysus. But in Michelangelo's experience, sensuality of such a divine nature has a drawback for man: in his left hand the god holds with indifference a lionsksin, the symbol of death, and a bunch of grapes, the symbol of life, from which a Faun is feeding. Thus we are brought to realize, in a sudden way, what significance this miracle of pure sensuality has for man: living only for a short while he will find himself in the position of the faun, caught in the grasp of death, the lionskin. The statue was transferred to Florence in 1572. Artist: MICHELANGELO Buonarroti Painting Title: Bacchus , 1501-1550 Painting Style: Italian , sculpture Type: mythological new21/Michelangelo Buonarroti-952256.jpg
Painting ID:: 63030
Christ Carrying the Cross 1521 Marble, height 205 cm Santa Maria sopra Minerva, Rome In this work, as in the 1499 Piet? Michelangelo did not portray pain as redemption in the medieval way, but perfect beauty as the expression of its consequence. Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross , 1501-1550 Painting Style: Italian , sculpture Type: religious new21/Michelangelo Buonarroti-837372.jpg