Synthesized answer
Michelangelo took as his model the works of his predecessors and the masterpieces of classical antiquity, without, however, sacrificing his individuality [5]. His creations recall classical antiquity by a certain coldness, as well as by the strain of superhuman power that characterizes them [3]. Michelangelo sought to express Divine greatness and exalted grief rather than human charm [3].
His creative process involved working entirely according to his own ideals [3]. Michelangelo's creations bear the stamp of his subjectivity and of his restless efforts to attain the loftiest ideals by new methods [1]. He accomplished much that was extraordinary by breaking through many limitations prescribed by the laws of beauty in all arts, wilfully disregarding, at times, even that fidelity to nature which he esteemed so highly [1]. The passages do not explicitly explain what this balance implies about his creative process beyond his desire to attain perfection and his unique artistic methods [2, 4].
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From the book
atiable, not so much owing to his desire for renown, as to his almost gigantic striving after the absolute ideal of art. For this reason Michelangelo's creations bear the stamp of his subjectivity and of his restless efforts to attain the loftiest ideals by new methods. He accomplished much that was extraordinary in three or four departments of art, but at the same time broke through many limitations prescribed by the laws of beauty in all arts, wilfully disregarding, at times, in his modelling of the human figure, even that fidelity to nature which he esteemed so highly. The way he pointed…
d caused him to realize the vanity of earthly ideals. His spirit was always absorbed in a struggle to attain perfection. Yet with all this he was not haughty; many of his sayings that have come down to us show him to have been unusually unassuming. The explanation of his unwillingness to have the aid of assistants must be sought in the peculiarity of his artistic methods. Michelangelo's life was one of incessant trials, yet in spite of an imperious temper and many bodily infirmities he showed remarkable composure and forbearance. No matter how much trouble was caused him by his distinguished…
ught. In contrast to Raphael, Michelangelo sought to express Divine greatness and exalted grief rather than human charm. He worked entirely according to his own ideals. His creations recall classical antiquity by a certain coldness, as well as by the strain of superhuman power that characterizes them. Second Period To Michelangelo's second creative period (beginning 1505) belongs the statue of Christ which he carved for the church of Santa Maria sopra Minerva. It was sent to Rome in 1521 in charge of an assistant who was to add some last touches to the statue when it was put in position. The…
id them by word and deed. "I will send you what you demand of me", he wrote, "even if I have to sell myself as a slave". After the death of his father he conceived a deep affection for a young Roman, Tommaso de' Cavalieri, and also entered into intimate friendship with the noble-minded poetess, Vittoria Colonna, then past her youth. With his pupils, Vasari and Condivi, he was on the most cordial terms, and a servant who was twenty-six years in his employ experienced his bounty. The biographies we have from the pupils just mentiond and the letters of Michelangelo himself testify to the gentler…
s time was introduced by the poet Politian into the circle of the scholars of the Academy and to their learned pursuits. Meanwhile, Michelangelo was studying with marked success the frescoes in the Branacci chapel. After Lorenzo's death he passed his time partly at home, partly at the monastery of Santo Spirito, where he busied himself with anatomical studies, and partly in the house of Pietro de' Medici, who, however, was banished in 1494. About the same time Michelangelo left Florence for Bologna. He returned in 1495, and began to work as a sculptor, taking as his model the works of his…
More questions about this book
- How did Michelangelo's diverse early training—from his apprenticeship with Ghirlandajo to his time with the Medici and his anatomical studies—collectively contribute to the development of his unique artistic perspective?
- Trace the impact of Michelangelo's powerful patrons, from Lorenzo the Magnificent to the various Popes, on his geographic movements and the likely nature of his "artistic labours." How might different patrons have shaped his artistic output?
- What do the statements about Michelangelo's "fame" preceding him and the detailed accounts of his elaborate memorials suggest about the role and status of artists in Renaissance society?
- The text provides extensive biographical detail but deliberately omits specific titles of Michelangelo's works. What might be the purpose of this omission in an entry from the "Catholic Encyclopedia (1913)," and what does it emphasize about Michelangelo as an artist or figure?