Michelangelo, the painter. The Sistine Chapel ceiling.
The talented and brilliant artist (and personality) that was Michelangelo (March 6, 1475 – February 18, 1564) must be repeatedly and independently cited when talking about sculpture, painting and architecture of the High Renaissance. Such was his impact and influence on the history of Art. From Michelangelo the painter, of whom we will speak now, we know 10 works: the monumental frescoes that he executed for the Sistine Chapel (1508-1512 and 1534-1541), The Entombment (ca. 1500-1501, National Gallery, London), the Doni Tondo (ca. 1503-1506, Galleria degli Uffizi, Florence), the Battle of Cascina (1504) and Leda and the Swan (ca. 1530) both lost, and the Conversion of Saul (1542-1545) and the Crucifixion of Saint Peter (1546-1550) these last two in the Capella Paolina of the Vatican Palace (Vatican City). Two paintings are of doubtful attribution: the Torment of Saint Anthony (ca. 1487-1488, Kimbell Art Museum, Texas) and Madonna and Child with Saint John and Angels (ca. 1497, National Gallery, London).
Michelangelo di Lodovico Buonarroti Simoni was born on March 6, 1475 in Caprese, a small town located near Arezzo in Tuscany. He despised oil painting. He said that it was only “appropriate for women… or idlers like Sebastiano del Piombo”. He felt that it was a less virile and less pure art than sculpture, and in particular, he despised it for elevating the features of color over those of the idea. He also hated portraits, in which he only saw “an adulation of idleness and of imperfect illusions of the senses”. Not satisfied with belittling painting, Michelangelo assured its inferiority to sculpture. The latter is therefore an opinion diametrically opposed to that of Leonardo.
In 1488, Michelangelo was already one of the apprentices in Domenico Ghirlandaio‘s workshop, where he soon discovered that sculpture was his true vocation. In fact, he never sought to paint, and only did when he was forced to do so. Following his artistic inclinations, from Ghirlandaio’s studio he decided to move to the studio of Giovanni di Bertoldo, a pupil of Donatello, who was the director of a school of sculpture and of Lorenzo de’ Medici’s collections of classical antiquities. There, Michelangelo had the opportunity to come into contact with the members of the circle of the Platonic Academy of the Medici between 1490 and 1492, surrounded not only by the members of the Medici family, but also by the circle of intellectuals who frequented them. In this environment, he met and also had the opportunity to learn the humanist philosophy and the literature of his time.
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In a work such as the Holy Family (popularly known as the Doni “tondo”), Michelangelo already shows us a familiar effusion and affection, already very human, which are not found in the works by Luca Signorelli. But it is curious that in this painting, one of the few known easel paintings by Michelangelo, the remembrance of Signorelli’s works is so evident. The Doni Tondo is so named because it was painted ca. 1503-1504 (or 1507?) on the occasion of the wedding of Agnolo Doni and Maddalena Strozzi, whose magnificent portraits Rafael was to paint. Both belonged to two of the most powerful families of the Florence oligarchy. Michelangelo’s concern for depicting volume manifested in this work is so great that it has been described as a “painted sculpture”. This characteristic of Michelangelo’s pictorial work, which also relates him to Signorelli, gives his characters a formidable monumental air that turns them into a family of giants. The same observation can be done for another of his easel paintings, now lost, from 1530, Leda and the Swan, of which there are several copies (London, Dresden, Berlin and Venice). In this painting, Jupiter’s lover is shown as a reclined giantess, whose athletic body stirs a secret force under the delicate swan’s caresses.
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In 1505, Pope Julius II called Michelangelo to Rome to work on the grandiose projects he had in mind. In particular, Julius wanted a mausoleum for himself to be built within the Vatican Basilica. Michelangelo sent him a project for a grandiose mausoleum and the Pope was so satisfied with the prospectus that without further ado he sent Michelangelo to Carrara (on April 1505) to cut and bring all the necessary marble to Rome. After a little more than eight months in Carrara, Michelangelo saw how the marble blocks reached St. Peter’s Square. But the Pope’s will was malleable, and the architect Donato Bramante, who was among the Pope’s closest advisers, saw Michelangelo as a rival. Thanks to Bramante’s suggestions, Julius II abandoned his mausoleum project which angered Michelangelo, who left Rome. In 1506, they would meet again in Bologna, but the Pope already had a new idea: he ordered Michelangelo to decorate the vault of the Sistine Chapel with frescoes. This trap was suggested to the pontiff by Bramante and other rivals. Michelangelo not only hated painting, he did not know anything about fresco technique. The dejection and discouragement that this task produced in him was reflected by Michelangelo in the letters he wrote at that time: “This is not my profession”, he complained, or “I’m wasting my time, and all for nothing. God help me!” Today we find it surprising that someone who detested painting as much as Michelangelo did, would nevertheless have been able to accomplish such a monumental artistic task and at the same time achieved universal glory in that art.
Thus, at the same time that Raphael painted the stanze of Julius II, Michelangelo, like a titan, worked locked up in the Sistine Chapel to also decorate it with new frescoes. Michelangelo worked on the ceiling’s decoration between 1508 and 1512, alone, reluctantly and without rest. Vasari tells us that it was the year 1508 when “Bramante, friend and relative of Raffaello da Urbino, seeing that the Pope favored Michelangelo, persuaded him so that His Holiness, in memory of Sixtus IV, his uncle, had him paint the vault of the chapel that he had built in the palace… But Michelangelo, believing it was a large and difficult work, and considering his little practice with colors, sought with all imaginable excuses to unload himself from that weight, proposing Raffaello for this”. “It seems that the more Michelangelo excused himself, the more the desire of the Pope grew, impetuous in his undertakings”, says Vasari verbatim, “for which reason, especially encouraged by Bramante, Pope Julius II, who was impatient, was on the verge of get infuriated with Michelangelo”. Finally, the great sculptor, resigning himself to doom, undertook the heroic undertaking that began on May 10, 1508.
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The Sistine Chapel is a large rectangular room 40 meters long by 13 meters wide. It had been built in the previous century, and the Popes predecessors of Julius II had taken an interest in having it decorated by great contemporary masters. The chancel and the tribune still have today the most beautiful Quattrocento railings and parapets that we know of. The walls are still decorated, up to the base of the vault, with frescoes by great Quattrocento painters. But what to do up there, in the huge uninterrupted barrel vault 13 meters in diameter, with irregular interpenetrations of lunettes, and 25 meters high?
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Michelangelo artificially divided the vast surface by means of figurative arches and cornices in perspective, in the middle of the vault. Thus he ingeniously and harmoniously formed an architectural grid that separates the compositions. Those in the central “panels” represent scenes from the early days of the human lineage (nine scenes taken from the Book of Genesis); nothing more appropriate to decorate that great vault than the story of the patriarchs. Creation is found first: God separating light from darkness; God animating with his gesture the reclining figure of Adam; God creating Eve from the body of Adam asleep. It follows the double scene of the Original Sin and the expulsion from Paradise, the Flood and the miracle of Moses’ serpent.
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These panels are divided by the arches, but animating this painted architecture are the 20 figures of naked young men (ignudi), the spiritual brothers or lovers of Michelangelo, who lean on pedestals, pensive ephebi whose appearance combine both feminine and masculine features, the eternal humanity that contemplates its march from the beginning of time.
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Below, between the lunettes of the arches, alternating, are the figures of prophets and sibyls, gigantic creatures, as a supreme representation of the human race, and destined to await the great happening that will redeem them from sin. Each of these figures is an important character, of gigantic stature, as only Michelangelo could imagine them. They are seated on either side of the vault: Isaiah, still young, prophesies, pointing to his head, full of visions; near him, the Cumaean Sibyl, an old woman loaded with years, reads from a large book that she holds on her knees; Jeremiah, with his head bowed, resting on one hand, seems in deep sorrow; Daniel studies and compares books to predict the coming of the Messiah. Young like him, the Delphic Sibyl is a daughter of these giants, a thoughtful girl who also looks at the book of the future.
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Still in the spaces that remain on each side of the windows, Michelangelo painted other biblical scenes, a world of tragic characters, Minor Prophets and Jewish heroes, moved by the finger of God.
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Michelangelo spent four years frequently locked up in that room, facing a great deal of fatigue, as he had to carry out the works several times due to his inexperience in the fresco technique. He didn’t know about the particularities of the lime of Rome, and when part of the vault was already painted, the frescoes begun to cover with a white salt layer. So he had to mount the scaffolding again and dismiss the apprentices he had taken on as assistants. Only a few close friends were allowed to contemplate the work in progress. The Pope, who was hurried and impatient by nature, often went there too to see the work with his own eyes. The bitterness that Michelangelo went through painting the Sistine Chapel can be seen in the deep air of melancholy that prevails in all the characters painted on the vaults. Michelangelo not only had to fight with art difficulties, but also with financial trouble, since the Pope was at war with the French at the time, and sometimes he lacked material resources. Michelangelo had to suspend the work twice, and in one of them he went to Bologna exasperated. Vasari says that because he had to paint the vault in such constant uncomfortable position, in his old age his eyes often hurt. Michelangelo himself tells in a sonnet the difficulties and hard work he went through during the execution of this immense work:
“My beard points to heaven, and I feel the nape/of my neck on my hump; I bend my breast/like a harpy’s, and, with its non-stop dripping/from above, my brush makes my face a richly/decorated floor.”
Finally, he says to Giovanni da Pistoia, his friend, to whom he directs the sonnet: “Defend my dead painting from now on,/ Giovanni, and the honor of my name, for I am not well/ placed, nor indeed a painter”. The vault of the Sistine Chapel had no need of an apologist; from day one, all of Rome, and since then all of humanity, have been unanimous in recognizing it as one of the greatest triumphs of human endeavor. Michelangelo finished the vault’s decoration on October 31, 1512, and it was inaugurated to the public the following day (November 1, All Saints’ Day). Julius II was so pleased that he wanted to celebrate the Pontifical Mass that day in the chapel. In all, the final ceiling’s work includes about 300 figures. At the age of 37, Michelangelo’s artistic reputation rose to such an extent that from then on he was called il divino (the divine one). Michelangelo had not only lived up to the Pope’s (and Bramante’s) challenge, but he far exceeded all expectations and his own artistic ability.
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The last anecdotes that Vasari tells us about the colloquia between the Pope and Michelangelo after the inauguration are interesting. The Pope wanted the vault to be enriched even more with bright colors and touches of gold, to which Michelangelo responded that the patriarchs and prophets painted there “were never rich, but holy men because they despised riches”. In the end, Julius II, the impatient Pope, had only a few months to admire the masterpiece he had commissioned. The Pontiff would die four months after the ceiling was inaugurated, on February 21, 1513.
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Intonaco: Italian term for the final, very thin layer of plaster on which a fresco is painted. The plaster is painted while still wet, in order to allow the pigment to penetrate into the intonaco itself. An earlier layer, called arriccio, is laid slightly coarsely to provide a key for the intonaco, and must be allowed to dry, usually for some days, before the final very thin layer is applied and painted on. Intonaco is traditionally a mixture of sand (with granular dimensions less than two millimeters) and a binding substance.
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