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I.E.S.

"FRANCISCO DE GOYA"
MOLINA DE SEGURA
ITEM 11: THE SCULPTURE OF MIGUEL ANGEL
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
1
I.E.S. "FRANCISCO DE GOYA"
MOLINA DE SEGURA

Biographical aspects (Michelangelo Buonarroti. Sculptor, painter and architect,
1475-1564).
Usually recognized Michelangelo as the great figure of the Italian Renaissance,
a man whose artistic personality of the creative scene dominated the sixteenth c
entury. During the nearly seventy years of his career, Michelangelo grew at the
same painting, sculpture and architecture, with extraordinary results in each of
these artistic endeavors. His contemporaries saw in the achievements of Michela
ngelo a quality, called terribilitá, which can be attributed to the greatness of
his genius, the term refers to aspects such as physical strength, emotional int
ensity and creative enthusiasm, true constants in the works This creator who giv
e them their greatness and inimitable personality. Michelangelo's life was spent
in Florence and Rome, cities in which he made his masterpieces. He learned pain
ting in the workshop of Ghirlandaio, and sculpture in the garden of the Medici,
who had assembled an outstanding collection of ancient statues. In 1496 he moved
to Rome, where he made two sculptures that projected to fame: the Bacchus and t
he Pietà in St. Peter. The latter, his masterpiece of the early years, is a scul
pture of great beauty and a flawless finish. After five years he returned to Flo
rence, where he received several commissions, including David, the young naked f
our meters high, represents the perfect beauty and synthesizes the values of Ren
aissance humanism. In 1505, Pope Julius II summoned him to Rome to carve his tom
b, Michelangelo worked on this work until 1545 and ended only three statues, Mos
es and two slaves, left mean several statues of slaves who can appreciate how ex
tracted from blocks of marble figures that appeared to be already contained in t
hem. Julius II also asked to decorate the ceiling of the Sistine Chapel, commiss
ioned Michelangelo to resist, since it is considered primarily a sculptor, but t
hat became his most sublime. Around the central scenes, depicting episodes from
Genesis, displays a series of prophets, and young sibyls naked in an all dominat
ed by two qualities: physical beauty and dynamic energy.
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
2
I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
In 1516, he returned to Florence, where he designed two master architectural wor
ks: the Laurentian Library and the Medici Chapel or New Sacristy. Both achieveme
nts are in the architectural heirs to the work of Brunelleschi, but the unique s
taircase to the library, able to create a particular effect of monumentality in
the limited space available, it can only be the work of the genius of Michelange
lo. The Medici Chapel has two graves, including the statue of the deceased and t
he magisterial figures of the Day, Night, Dawn and Dusk. In 1534, Michelangelo s
ettled permanently in Rome, where he completed the Last Judgement fresco in the
Sistine Chapel and oversaw the construction of the Basilica of San Pedro and des
igned the dome of the same. • Michelangelo, sculptor. General characteristics of
his sculptures. Analysis of some of his most significant works not only the gre
at sculptor of the sixteenth century but of the Renaissance was Michelangelo. Wh
ile Michelangelo is dedicated to various facets of art, he is considered primari
ly a sculptor. The Michelangelo dream world is a world of giants, great attitude
, perfect features and gestures terrible, creating what is known as terribilitá.
Giant creatures are human archetypes. In the bodies muscles, increasing inciden
ce, reveals the long years spent by the artist to study anatomy and the deep imp
ression which he produced by the newly discovered Laocoon (1506). Michelangelo's
nudes are equipped with a tension force unequaled in the history of sculpture.
The muscles are accused under the skin and whole body exudes a dynamic content t
hat causes stir on himself rich by taking positions in motion. His early works a
re clearly influenced by the works of classical antiquity and Donatello, as demo
nstrated by the "Madonna of the Stairs." The fall of the Medici in 1494 Michelan
gelo forces to leave Florence and go through Bologna and Rome.€There contemplati
on of the ancient sculptures perfects its classic sense and sculpt his first mas
terpiece.
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
3
I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
1.Piedad the Vatican. (Quinquecento Renaissance Sculpture. Material: marble. Vat
ican Museums) (Selectivity) Title: La Piedad Author: Michelangelo Buonarroti. Ch
ronology: between 1498 and 1499 Style: Renaissance (Quinquecento) Technique: scu
lpted or carved Dimensions: 174 by 195 cm Location: Located in St. Peter's Basil
ica at the Vatican. Topic: religious sculpture group Analysis: Is this, sculpted
between 1499 and 1500, the first of four occasions to represent the theme of th
e Pieta, the most classic of them all. The group is seen embedded in a pyramid,
the diagonal belt across the chest of the Virgin (which recorded his name) look
makes stops at the torso of Christ, for his arm dead at the bottom left . It's g
reat anatomical study of the body of Christ that still lacks any anatomical exag
geration. Virgin's face is perfectly beautiful younger son to show virgin foreve
r, is an ideal symbolic. It is full of contrasts of light and shadows, perfect f
inishes, externalized in the polished marble. The theme comes from the late Goth
ic: the body of Christ is in Maria's arms, resting on his knees bent conveying a
sense of heaviness, as if asleep. Shortly after that sculpts will be another of
his masterpieces 2. David. Quinquecento sculpture. Material: marble. Academy Ga
llery. Florence) (Selective) Title: David Author: Michelangelo Buonarroti. Chron
ology: between 1501 and 1504 Style: Renaissance (Quinquecento) Technique: sculpt
ed or carved in Carrara marble
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
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I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
Dimensions: This is a piece of 409 cm Location: It was so successful that figura
tive work by Leonardo Da Vinci and Sandro Botticelli in Florence and the people
wanted that were placed in front of the palace of the Medici to the Signoria as
a symbol of victory of democracy on the power of the Medici family instead of th
e Duomo (Ducal Palace) as expected. Now housed in the Galleria dell'Accademia in
Florence to avoid deterioration by weather theme: religious (Old Testament) Ana
lysis: Between 1501-1503, carves the magnificent David, which is the masterpiece
of his age youth to from a block of marble in which they tried to carve a proph
et 40 years earlier. In its aggressive look, pay attention to the movements of h
is enemy Goliath, in its internal tension, nervously holding his left hand deep
in his muscles and can be seen as the typical "terribilitá" Michelangelo. Far fr
om young teenagers quattrocento (Donatello), Miguel Angel has tended to represen
t a young David but already formed. Likewise, the moment chosen by the author is
not the winner as it did Donatello but of time prior to combat, when David is w
atching your enemy to take the attack has been chosen, therefore a moment of gre
at tension spiritual and physical. The sensation of movement is expressed in the
inner tension reflected in the face, as in the curve of your body (which can be
followed from the left foot to the head in profile). Strongly underlines veins,
arteries and muscles under skin with delicate modeling. This statue became the
symbol of the city of Florence and was placed on a pedestal in a public square.
A piece of marble was long and narrow, which forces you to do a work almost flat
, which can not afford any contortion. 3. Moses. (Sculpture Quinquecento. Vatica
n Museums. Material: marble) (Selectivity) Title: Moses Author: Michelangelo Buo
narroti. Timeline :1513-1516
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
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I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
Style: Renaissance (Quinquecento) Technique: sculpted or carved in Carrara marbl
e Dimensions: 2.35 ms Location: St. Peter In Chains (Roma) Topic: Religious-fune
ral (it was part of an unfinished tomb) Analysis: Julius II The magnum charge yo
u want to be sepulchral monument built in the San Pedro cruise itself. This work
becomes the dream of Michelangelo, dream however, due to the multitude of tasks
that do,€remains unfinished. In 1501, Michelangelo conceived a rectangular tomb
, with burial chamber in the interior, statues on the front and a prophet of fin
ish in each corner. In 1512 he was forced to reduce the proportions of the bill
into detached but still of great proportions. Successive commissions, including
painting the Sistine Chapel, preventing it from fully devoted to such a great wo
rk. At the end is reduced to an unfinished mural tomb, located in St. Peter In C
hains. Moses only does that seem drowned in its own niche, the Slaves and the fi
gures of Leah and Rachel (representing the active life and contemplative life).
The statue of Moses was made between 1513-1516. I was working on this book when
it was discovered Michelangelo's group Laooconte what will be decisive in the ev
olution of the artist's style. It depicts Moses with the Tablets of the Law and
angry to see his people worshiping the golden calf. It is a portrait in the roun
d, full-length and seated, the figure represents one leg slightly forward from t
he work. It has a prominent head and turned, and his facial expression is also s
trong, with a beard. With this work starts is grandeur and terribilitá stage. Al
so highlights the intense chiaroscuro produced by the muscles and beard. 4. Tomb
s of the Medici. (Funerary sculpture. Quinquecento. Material: marble. New Chapel
Church of San Lorenzo, Florence) (selectivity) Title: Tombs of Giuliano and Lor
enzo de Medicis Author: Michelangelo Buonarroti.
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
6
I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
Chronology: 1521-1534 Style: Renaissance (Quinquecento) Technique: sculpted or c
arved in Carrara marble Location: St. Peter In Chains (Roma) Theme: Religion (wa
s part of an unfinished tomb) Analysis: The Medici Chapels are part of the churc
h of San Lorenzo (New Chapel), Florence. Commissioned in 1521 by Clement VII, ar
e the other major sculptural undertaking of his life, it also failed to summit,
and which, in turn, prevents him from finishing the tomb of Julius II. In its or
igin should be devoted to Cosmas and Lorenzo "the Magnificent" Medici and occupi
ed the papal throne (potatoes), but in the end only makes the other two members
of the family for whom you do not feel great enthusiasm: Julian and Lorenzo , br
other and nephew respectively of Leo X. Both tombs of Lorenzo and Julian, are co
nfigured with three figures. In Lawrence, this is represented in thought, with t
he figure of Aurora on the right and the left, the dramatic figure of the Twilig
ht. Julian presented the active attitude has left the Day, and the right figure
of Night, a statue of great perfection in the polishing. Both graves, the dead f
igures are idealized. Julian is represented without playing, alert, tense, perha
ps as a symbol of active life. Lorenzo thoughtful and relaxed, his hand covering
his mouth as a symbol of the contemplative life. Julian is represented as a Rom
an general. Both are seated according to the type created in the early Renaissan
ce. The figures of Day and Dusk (male) and the Aurora and Night (female) are mus
cular figures with poorly defined features like the face. These figures are on t
he ballot in a terrible balance between ride the curved pediment or kept on him
by the leg strength with which they rest. In his old age, Michelangelo returns t
o the theme of the Pieta, but in a very different way as he did in his youth, mo
ved away from the pursuit of classical beauty, Miguel Angel focuses on the spiri
tual representation of the item. 5 .- Other works by Michelangelo. • Pietà of Fl
orence Cathedral (Quinquecento sculpture. Material: marble. D'ell Museum Opera d
el Duomo in Florence)
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
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I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
This work is sculpted by Michelangelo between 1550 and 1555, for his own tomb. T
he body of Jesus on the folded and broken legs, arms extending in an arc cadaver
ic disjointed, supported by a Madonna, whose face is barely sketched and the Mag
dalena knees, completed by a pupil of Michelangelo. The group tapered ends with
the figure of Joseph of Arimathea hooded, self-portrait of Michelangelo himself.
The artist is represented next to Jesus and death, that are now dominant though
ts. • La Piedad Rondanini. (Sculpture Quinquecento. Material: marble. Museum of
Ancient Art in Milan) It seems that began this sculpture in 1552,€and was workin
g on it until the eve of his death in 1564, with interruptions and subsequent re
arrangements, as seen in the right arm of Christ, who is in an incongruent posit
ion relative to the rest of the figure. It took an old Roman column, so that the
vertical placement of the two images was necessary. La Piedad Rondanini shows d
ramatically the terrible loneliness of the mother and child, inextricably linked
. La Piedad Rondanini is just outlined with an original composition: the Virgin
and Christ standing. The body of Christ is fused with that of Mary. The issue is
now more closely linked to its spirit as the only one capable of expressing pai
n together the human condition and its immortal hope. The "unfinished" by Michel
angelo achieves maximum expression of drama, is a mother charged in pain through
out the world, away from the ageless Lady of Pity at the Vatican. It is a work t
hat has much of both medieval and modern. Michelangelo, the balance between beau
ty and expressive movement of the Renaissance (XV) in sculpture reached its high
est historical expression, but it will break this balance in favor of the motion
, which will be a constant Baroque. Michelangelo thus appears as the end of an e
ra and beginning of another. • The Palestrina Pieta (Sculpture Quinquecento. Mat
erial: marble. Gallery of the Academy of Florence) Another work on the same subj
ect and performed during the same season (1556) is the Palestrina Pieta, a sculp
ture with the Christ, the Virgin and Mary
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
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I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
Magdalena, two feet in height. Michelangelo used for processing a fragment of a
Roman construction, in the back you can see a piece of an architrave decorated a
ncient Roman. It is unfinished and, after being in the chapel of the Palazzo Bar
berini in Palestrina, now you can see in the Gallery of the Academy of Florence.
• The Madonna of Bruges in the church of Our Lady in Bruges.
By 1503, upon the request of some merchants flamingos, Mouscron, a Madonna and C
hild in the chapel of the Church of Our Lady in Bruges. Although you can appreci
ate the movement of clothing as in the Pieta in the Vatican, the result is diffe
rent, especially the verticality of the sculpture. Displayed in a time of abando
nment, where the Virgin's right hand seems to only have the strength to prevent
the book from falling and gently left is holding the baby Jesus, in contrast wit
h the vitality of movement demonstrates the Child. [54 • Bacchus (Bargello Museu
m in Florence)
This work, by its form and manner, in each of its parts, corresponding to the de
scription of the ancient writers, his festive appearance: eyes, shifty-eyed and
full of lust, such as those that are given over to pleasures of wine. Holding a
drink with his right hand, as one who is about to drink, and looks lovingly, fee
ling the pleasure of liquor invented which is why he is represented crowned with
vine leaves twisted ... With the left hand holding a bunch of grapes, which del
ights a little satyr gay and live there at their feet. Currently housed in the B
argello Museum in Florence
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
9
I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
THE SCULPTURE OF MIGUEL ANGEL. IMAGES FOR SELECTIVITY 61. Vatican Pietà
62. David (Michelangelo)
63. Moses
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
10
I.E.S. "FRANCISCO DE GOYA"
Molina de Segura
64. Medici tombs: on
2 º de Bachillerato. Course 2008-2009-History of Art. Item 11: The sculpture of
Michelangelo. © Department of Geography and History-
11

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