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Michelangelo

By Eugène Müntz

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Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

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Length58 mins

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11. Self Portrait with Turban Quill,

3932. St. Peter’s,viewed from the West, 1546-1564.

2MICHELANGELO

4033. View of the interior of the Dome, begun by Michelangelo in 1546 and completed by Domenico Fontana in 1593.

3Childhood

4134. Aerial view of the Basilic of Saint Peter. Picture by Giacomo Della Porta.

4The Medici Factor

4235. Porta Pia, 1561.

5Homecoming and Travel

43Beyond Peerless Painting

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62. Madonna of the Stairs, circa 1490.

4437. Sistine Chapel, vault, panel of the Last Judgement, north and south sides, after restoration of frescoes, 1508-1541.

73. Battle of the Centaurs, 1492.

4538. Vault of the Sistine Chapel after restoration.

8Inner Tension

4639. The Deluge (second panel of the archway). Fresco. Sistine Chapel, Vatican.

9The Da Vinci Factor

4740. The Creation of Adam (sixth panel of the vault), 1508-1512.

104. Antonio da Sangallo, The Battle of Cascina adapted from Michelangelo, circa 1542.

4841. Original Sin (fourth panel of the vault)

11The Unprecedented Sculptor

4942. The Delphic Sibyl (Lateral paintings of the Prophets).

125. Angel holding a candelabra, 1495.

5043. The Prophet Isaiah (Lateral paintings of the Prophets).

136. Saint Proculus, from the arca of San Domenico, 1495.

5144. The Creation of Eve (fifth panel of the vault), 1510-1511.

147. Bacchus, 1496-1497.

5245. The Prophet Ezekiel (Lateral paintings of the Prophets), 1511.

158. Pietà, 1498-1499.

5346. The Prophet Jeremiah (Lateral paintings of the Prophets), 1511.

169. Sketch for a David with Catapult, 1501.

5447. The Last Judgment (Full view), 1534-1541.

1710. David, 1501-1504.

5548. The Angels Blowing the Trumpets of the Dead. Detail of the Last Judgement.Fresco after restoration.

1811. The Dying Slave, 1513-1516.

5649. The Conversion of St. Paul, 1542-1545.

1912. The Rebellious Slave, 1513-1516.

5750. Crucifixion of St. Peter, 1546-1550.

2013. Saint Matthew, 1505-1506.

5851. Madonna and Child, 1503-1506.

2114. Slave, Named Atlas, 1519.

5952. Virgin with Child and Saint John the Baptist as a Child or Tondo Taddei.

2215. Giacomo Rochetti, Painting after the project of Michelangelo for the tomb of Pope Julius II, 1513.

6053. The Pitti Madonna, 1504-1505.

2316. Moses, 1513-1515.

6154. Pietà de Florence, 1547-1555.

2417. The Tomb of Pope Julius II, 1505-1545.

6255. Palestrina Pieta, circa 1555.

2518. Virigin and Child, 1524-1534.

6356. The Rondanini Pieta, circa 1552-1564.

2619. Interior of the Medici Chapel, 1520-1534.

64The Sketch Artist

2720. Tomb of Lorenzo de Medici, 1525-1527.

65A Most Exceptional Individual

2821. Tomb of Julius de Medici, 1525-1527.

6658. Pietà, 1538-1540.

2922. Dawn, 1525-1527.

6759. Nude Study for The Battle of Cascina, circa 1504.

3023. Night, 1525-1527.

6860. Study for the Libyan Sibyl, 1511.

3124. Interior view of the dome of the Medici Chapel, San Lorenzo.

6961. Study of a craftsman and the right hand of the Libyan Sibyl, six slaves, part of building.

32The Architect

7062. The Archers Shooting at a Herm, circa 1531.

3326. Staircase of the Vestibule. Laurentine Library, San Lorenzo, Florence.

7163. Copy from Michelangelo, Bustle of Cleopatra, circa 1532.

3427. Reading room of the Laurentine Library, San Lorenzo, Florence.

7264. Nude study for Sistine Chapel Ceiling, 1511.

3528. Palazzo Farnese, Rome. View of the façade, design begun by Antonio da Sangallo the Younger and continued by Michelangelo, Giacoma Vignola and Giacomo della Porta. 1517-1589.

7365. Crucifixion with the Virgin Mary and Saint John, circa 1550-1555.

3629. Palazzo Farnese, Rome. The facade of the inner courtyard, detail of the second storey designed by Antonio da Sangallo the Younger in 1517 and the third by Michelangelo between 1549-1569.

74Biography

3730. Etienne Dupérac, Michelangelo’s project for the Capitole, 1558.

7566. Crucifixion, circa 1540.

3831. View of today’s Capitole, Rome.

7667. Christ Ressurected, 1518-1520.