Michelangelo di Lodovico Buonarroti Simoni[1]
(6 March 1475 – 18 February 1564), commonly known as Michelangelo,
was an Italian Renaissance painter,
sculptor, architect,
poet, and engineer. Despite making few forays beyond the
arts, his versatility in the disciplines he took up was of such a high
order that he is often considered a contender for the title of the
archetypal Renaissance man, along with his rival and fellow
Italian Leonardo da Vinci.
Michelangelo's output in every field during his long life was
prodigious; when the sheer volume of correspondence, sketches, and
reminiscences that survive is also taken into account, he is the
best-documented artist of the 16th century. Two of his best-known works,
the Pietà and David, were sculpted before he
turned thirty. Despite his low opinion of painting, Michelangelo also
created two of the most influential works in fresco in
the history of Western art: the scenes from Genesis on the ceiling
and The Last Judgment on
the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo
pioneered the Mannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger
as the architect of Saint Peter's
Basilica. Michelangelo transformed the plan, the western end being
finished to Michelangelo's design, the dome being completed after his
death with some modification.
In a demonstration of Michelangelo's unique standing, he was the
first Western artist whose biography was published while he was alive.[2]
Two biographies were published of him during his lifetime; one of them,
by Giorgio Vasari, proposed that he was the pinnacle of all
artistic achievement since the beginning of the Renaissance,
a viewpoint that continued to have currency in art history for
centuries. In his lifetime he was also often called Il Divino
("the divine one").[3]
One of the qualities most admired by his contemporaries was his terribilità,
a sense of awe-inspiring grandeur, and it was the attempts of
subsequent artists to imitate Michelangelo's impassioned and highly
personal style that resulted in Mannerism,
the next major movement in Western art after the High Renaissance. Biography
Early life
Michelangelo was born on 6 March 1475[a]
in Caprese near Arezzo, Tuscany.[4]
His family had for several generations been small-scale bankers in
Florence but his father, Lodovico di Leonardo di Buonarroti di Simoni,
failed to maintain the bank's financial status, and held occasional
government positions.[2]
At the time of Michelangelo's birth, his father was the Judicial
administrator of the small town of Caprese and local
administrator of Chiusi. Michelangelo's mother was Francesca di Neri
del Miniato di Siena.[5]
The Buonarrotis claimed to descend from the Countess Mathilde of Canossa; this claim
remains unproven, but Michelangelo himself believed it.[6]
Several months after Michelangelo's birth the family returned to
Florence where Michelangelo was raised. At later times, during the
prolonged illness and after the death of his mother when he was seven
years old, Michelangelo lived with a stonecutter and his wife and family
in the town of Settignano where his father owned a marble quarry
and a small farm.[5]
Giorgio Vasari quotes Michelangelo as saying, "If there is
some good in me, it is because I was born in the subtle atmosphere of
your country of Arezzo. Along with the milk of my nurse I received the
knack of handling chisel and hammer, with which I make my figures."[4]
Michelangelo's father sent him to study grammar
with the Humanist Francesco da Urbino in Florence as a young
boy.[4][7][b]
The young artist, however, showed no interest in his schooling,
preferring to copy paintings from churches and seek the company of
painters.[7]
At thirteen, Michelangelo was apprenticed to the painter Domenico Ghirlandaio.[1][8]
When Michelangelo was only fourteen, his father persuaded Ghirlandaio
to pay his apprentice as an artist, which was highly unusual at the
time.[9]
When in 1489 Lorenzo de' Medici, de facto
ruler of Florence, asked Ghirlandaio for his two best pupils,
Ghirlandaio sent Michelangelo and Francesco Granacci.[10]
From 1490 to 1492, Michelangelo attended the Humanist
academy which the Medici had founded along Neo
Platonic lines. Michelangelo studied sculpture under Bertoldo di Giovanni. At the academy, both
Michelangelo's outlook and his art were subject to the influence of many
of the most prominent philosophers and writers of the day including Marsilio Ficino, Pico della Mirandola and Angelo Poliziano.[11]
At this time Michelangelo sculpted the reliefs Madonna of the Steps
(1490–1492) and Battle of the Centaurs
(1491–1492). The latter was based on a theme suggested by Poliziano and
was commissioned by Lorenzo de Medici.[12]
While both were apprenticed to Bertoldo di Giovanni, Pietro Torrigiano struck the 17 year old on the nose,
and thus caused that disfigurement which is so conspicuous in all the
portraits of Michelangelo.[13]
Early adulthood
Lorenzo de' Medici's death on 8 April 1492, brought a reversal of
Michelangelo's circumstances.[14]
Michelangelo left the security of the Medici court and returned to his father's house.
In the following months he carved a wooden crucifix (1493), as a
gift to the prior of the Florentine church of Santo Spirito,
who had permitted him some studies of anatomy
on the corpses of the church's hospital.[15]
Between 1493 and 1494 he bought a block of marble for a larger than
life statue of Hercules, which was sent to France and subsequently
disappeared sometime circa 1700s.[12][c]
On 20 January 1494, after heavy snowfalls, Lorenzo's heir, Piero de Medici
commissioned a snow statue, and Michelangelo again entered the court of
the Medici.
In the same year, the Medici were expelled from
Florence as the result of the rise of Savonarola. Michelangelo left the city before
the end of the political upheaval, moving to Venice and
then to Bologna.[14]
In Bologna he was commissioned to finish the carving of the last small
figures of the Shrine of St. Dominic, in the church dedicated to that
saint. Towards the end 1494, the political situation in Florence was
calmer. The city, previously under threat from the French, was no longer
in danger as Charles VIII had suffered defeats.
Michelangelo returned to Florence but received no commissions from the
new city government under Savonarola. He returned to the employment of
the Medici.[16]
During the half year he spent in Florence he worked on two small
statues, a child St. John the Baptist and a sleeping Cupid. According to Condivi, Lorenzo
di Pierfrancesco de' Medici, for whom Michelangelo had sculpted St.
John the Baptist, asked that Michelangelo "fix it so that it looked
as if it had been buried" so he could "send it to Rome…pass [it off as]
an ancient work and…sell it much better." Both Lorenzo and Michelangelo
were unwittingly cheated out of the real value of the piece by a
middleman. Cardinal Raffaele Riario, to whom Lorenzo had sold it, discovered
that it was a fraud, but was so impressed by the quality of the
sculpture that he invited the artist to Rome.[17]
[d]
This apparent success in selling his sculpture abroad as well as the
conservative Florentine situation may have encouraged Michelangelo to
accept the prelate's invitation.[16]
Michelangelo's Pietà, a depiction of the body of Jesus on
the lap of his mother Mary after the Crucifixion,
was carved in 1499, when the sculptor was 24 years old.
Rome
Michelangelo arrived in Rome 25 June 1496[18]
at the age of 21. On 4 July of the same year, he began work on a
commission for Cardinal Raffaele Riario, an over-life-size statue of the Roman wine
god, Bacchus. However, upon
completion, the work was rejected by the cardinal, and subsequently
entered the collection of the banker Jacopo Galli, for his garden.
In November of 1497, the French ambassador in the Holy See
commissioned one of his most famous works, the Pietà and the contract was agreed
upon in August of the following year. The contemporary opinion about
this work — "a revelation of all the potentialities and force of the art
of sculpture" — was summarized by Vasari: "It is certainly a miracle
that a formless block of stone could ever have been reduced to a
perfection that nature is scarcely able to create in the flesh."
In Rome, Michelangelo lived near the church of Santa Maria di
Loreto. Here, according to the legend, he fell in love with Vittoria Colonna, marquise of Pescara
and a poet.[citation needed] His
house was demolished in 1874, and the remaining architectural elements
saved by the new proprietors were destroyed in 1930. Today a modern
reconstruction of Michelangelo's house can be seen on the Gianicolo hill. It is also during this period
that skeptics allege Michelangelo executed the sculpture Laocoön and His Sons which resides in
the Vatican[19].
Works
The Statue of David, completed by
Michelangelo in 1504, is one of the most renowned works of the
Renaissance.
Statue of David
Michelangelo returned to Florence in 1499–1501. Things were changing
in the republic after the fall of
anti-Renaissance Priest and leader of Florence, Girolamo Savonarola (executed in 1498) and the rise of
the gonfaloniere Pier Soderini. He was asked by the consuls of
the Guild of Wool to complete an unfinished project begun 40 years
earlier by Agostino di Duccio: a colossal statue
portraying David as a symbol of Florentine freedom, to be placed in the
Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo responded by completing his
most famous work, the Statue of David in 1504. This
masterwork, created out of a marble block from the quarries at Carrara
that had already been worked on by an earlier hand, definitively
established his prominence as a sculptor of extraordinary technical
skill and strength of symbolic imagination.
Also during this period, Michelangelo painted the Holy Family and
St John, also known as the Doni
Tondo or the Holy Family of the Tribune: it was
commissioned for the marriage of Angelo Doni and Maddalena Strozzi and
in the 17th century hung in the room known as the Tribune in the Uffizi. He
also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery,
London.
Sistine Chapel
ceiling
Michelangelo painted the ceiling of the Sistine Chapel; the work took approximately four years to
complete (1508–1512)
In 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope's tomb. Under the patronage of
the Pope, Michelangelo had to constantly stop work on the tomb in order
to accomplish numerous other tasks. Because of these interruptions,
Michelangelo worked on the tomb for 40 years. The tomb, of which the
central feature is Michelangelo's statue of Moses, was never finished to
Michelangelo's satisfaction. It is located in the Church of S. Pietro in Vincoli in Rome.
During the same period, Michelangelo took the commission to paint the
ceiling of the Sistine Chapel, which took approximately four years to
complete (1508–1512). According to Michelangelo's account, Bramante and Raphael
convinced the Pope to commission Michelangelo in a medium not familiar
to the artist. This was done in order that he, Michelangelo, would
suffer unfavorable comparisons with his rival Raphael, who at the time
was at the peak of his own artistry as the primo fresco painter.
However, this story is discounted by modern historians on the grounds of
contemporary evidence, and may merely have been a reflection of the
artist's own perspective.
Michelangelo was originally commissioned to paint the 12 Apostles
against a starry sky, but lobbied for a different and more complex
scheme, representing creation,
the Downfall of Man and the Promise of Salvation through the prophets
and Genealogy of Christ. The work is part of a larger scheme of
decoration within the chapel which represents much of the doctrine of
the Catholic Church.
The composition eventually contained over 300 figures and had at its
center nine episodes from the Book of Genesis, divided into three groups: God's Creation
of the Earth; God's Creation of Humankind and their fall from God's
grace; and lastly, the state of Humanity as represented by Noah and his
family. On the pendentives supporting the ceiling are painted twelve men
and women who prophesied the coming of the Jesus. They are seven prophets
of Israel and five Sibyls, prophetic women of the Classical world.
Among the most famous paintings on the ceiling are the Creation of Adam, Adam
and Eve in the Garden of Eden, the Great
Flood, the Prophet Isaiah and the Cumaean
Sibyl. Around the windows are painted the ancestors of Christ.
Under
Medici Popes in Florence
In 1513 Pope Julius II died and his successor Pope
Leo X, a Medici, commissioned Michelangelo to reconstruct the façade
of the basilica
of San Lorenzo in Florence and to adorn it with sculptures.
Michelangelo agreed reluctantly. The three years he spent in creating
drawings and models for the facade, as well as attempting to open a new
marble quarry at Pietrasanta specifically for the project, were among
the most frustrating in his career, as work was abruptly cancelled by
his financially strapped patrons before any real progress had been made.
The basilica lacks a facade to this day.
Apparently not the least embarrassed by this turnabout, the Medici
later came back to Michelangelo with another grand proposal, this time
for a family funerary chapel in the basilica
of San Lorenzo. Fortunately for posterity, this project, occupying
the artist for much of the 1520s and 1530s, was more fully realized.
Though still incomplete, it is the best example we have of the
integration of the artist's sculptural and architectural vision, since
Michelangelo created both the major sculptures as well as the interior
plan. Ironically the most prominent tombs are those of two rather
obscure Medici who died young, a son and grandson of Lorenzo. Il Magnifico himself is buried in an unfinished and
comparatively unimpressive tomb on one of the side walls of the chapel,
not given a free-standing monument, as originally intended.
Michelangelo's The Last Judgment. Saint Bartholomew is shown holding
the knife of his martyrdom and his flayed skin. The face of the skin is
recognizable as Michelangelo.
In 1527, the Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the
city ensued, and Michelangelo went to the aid of his beloved Florence
by working on the city's fortifications from 1528 to 1529. The city fell
in 1530 and the Medici were restored to power. Completely out of
sympathy with the repressive reign of the ducal Medici, Michelangelo
left Florence for good in the mid-1530s, leaving assistants to complete
the Medici chapel. Years later his body was brought back from Rome for
interment at the Basilica
di Santa Croce, fulfilling the maestro's last request to be buried
in his beloved Tuscany.
Last works in Rome
The fresco
of The Last Judgment on
the altar wall of the Sistine Chapel was commissioned by Pope Clement VII, who died shortly after assigning the
commission. Paul III was instrumental in seeing that Michelangelo began
and completed the project. Michelangelo labored on the project from 1534
to October 1541. The work is massive and spans the entire wall behind
the altar of the Sistine Chapel. The Last Judgment is a depiction
of the second coming of Christ and the apocalypse; where the souls of
humanity rise and are assigned to their various fates, as judged by
Christ, surrounded by the Saints.
Once completed, the depictions of nakedness in the papal chapel was
considered obscene and sacrilegious, and Cardinal
Carafa and Monsignor Sernini (Mantua's
ambassador) campaigned to have the fresco removed or censored, but the
Pope resisted. After Michelangelo's death, it was decided to obscure the
genitals ("Pictura in Cappella Ap.ca coopriantur"). So Daniele da Volterra, an apprentice of Michelangelo, was
commissioned to cover with perizomas (briefs) the genitals, leaving
unaltered the complex of bodies. When the work was restored in 1993, the
conservators chose not to remove all the perizomas of Daniele, leaving
some of them as a historical document, and because some of
Michelangelo’s work was previously scraped away by the touch-up artist's
application of “decency” to the masterpiece. A faithful uncensored copy
of the original, by Marcello Venusti, can be seen at the Capodimonte Museum of Naples.
Censorship always followed Michelangelo, once described as "inventor
delle porcherie" ("inventor of obscenities", in the original Italian
language referring to "pork things"). The infamous "fig-leaf campaign"
of the Counter-Reformation, aiming to cover all
representations of human genitals in paintings and sculptures, started
with Michelangelo's works. To give two examples, the marble statue of Cristo della Minerva (church of Santa Maria sopra Minerva, Rome)
was covered by added drapery, as it remains today, and the statue of the
naked child Jesus in Madonna of Bruges (The Church of Our
Lady in Bruges,
Belgium) remained covered for several decades. Also, the plaster copy
of the David in the Cast Courts (Victoria
and Albert Museum) in London, has a fig leaf in a box at the back of
the statue. It was there to be placed over the statue's genitals so
that they would not upset visiting female royalty.
In 1546, Michelangelo was appointed architect of St. Peter's Basilica in the Vatican, and designed
its dome. As St. Peter's was progressing there was concern that
Michelangelo would pass away before the dome was finished. However, once
building commenced on the lower part of the dome, the supporting ring,
the completion of the design was inevitable.
Last sketch found
On 7 December 2007, Michelangelo's red chalk sketch for the dome of
St Peter's Basilica, his last before his death in 1564, was discovered
in the Vatican archives. It is extremely rare, since he destroyed his
designs later in life. The sketch is a partial plan for one of the
radial columns of the cupola drum of Saint Peter's.[20]
Architectural work
Michelangelo worked on many projects that had been started by other
men, most notably in his work at St Peter's Basilica, Rome. The
Campidoglio, designed by Michelangelo during the
same period, rationalized the structures and spaces of Rome's Capitoline Hill. Its shape, more a rhomboid than a square, was
intended to counteract the effects of perspective. The major Florentine
architectural projects by Michelangelo are the unexecuted façade for
the Basilica
of San Lorenzo, Florence and the Medici Chapel (Capella Medicea)
and Laurentian Library there, and the
fortifications of Florence. The major Roman projects are St. Peter's, Palazzo Farnese, San Giovanni dei Fiorentini, the
Sforza Chapel (Capella Sforza) in the Basilica di Santa Maria
Maggiore, Porta Pia and Santa Maria degli Angeli.
Laurentian Library
Around 1530 Michelangelo designed the Laurentian Library in Florence, attached to the church of
San Lorenzo. He produced new styles such as pilasters tapering thinner at the bottom, and a
staircase with contrasting rectangular and curving forms.
Medici Chapel
Main article: Medici
Chapel
Michelangelo designed the Medici
Chapel. The Medici Chapel has monuments in it dedicated to certain
members of the Medici family. Michelangelo never finished the project,
so his pupils later completed it. Lorenzo the
Magnificent was buried at the entrance wall of the Medici Chapel.
Sculptures of the "Madonna and Child" and the Medici patron saints
Cosmas and Damian were set over his burial. The "madonna and child" was
Michelangelo's own work.
Personality
Michelangelo, who was often arrogant with others and constantly
dissatisfied with himself, saw art as originating from inner inspiration
and from culture. In contradiction to the ideas of his rival, Leonardo da Vinci, Michelangelo saw nature as an enemy that
had to be overcome. The figures that he created are forceful and
dynamic, each in its own space apart from the outside world. For
Michelangelo, the job of the sculptor was to free the forms that were
already inside the stone. He believed that every stone had a sculpture
within it, and that the work of sculpting was simply a matter of
chipping away all that was not a part of the statue.[citation needed]
Several anecdotes reveal that Michelangelo's skill,
especially in sculpture, was greatly admired in his own time. Another
Lorenzo de Medici wanted to use Michelangelo to make some money. He had
Michelangelo sculpt a Cupid that looked worn and old. Lorenzo paid
Michelangelo 30 ducats, but sold the Cupid for 200 ducats. Cardinal
Raffaele Riario became suspicious and sent someone to investigate. The
man had Michelangelo do a sketch for him of a Cupid, and then told
Michelangelo that while he received 30 ducats for his Cupid, Lorenzo had
passed the Cupid off for an antique and sold it for 200 ducats.
Michelangelo then confessed that he had done the Cupid, but had no idea
that he had been cheated. After the truth was revealed, the Cardinal
later took this as proof of his skill and commissioned his Bacchus.
Another better-known anecdote claims that when finishing the Moses (San Pietro in Vincoli, Rome), Michelangelo
violently hit the knee of the statue with a hammer, shouting, "Why don't
you speak to me?"[citation needed]
In his personal life, Michelangelo was abstemious. He told his
apprentice, Ascanio Condivi: "However rich I may have
been, I have always lived like a poor man."[21]
Condivi said he was indifferent to food and drink, eating "more out of
necessity than of pleasure"[21]
and that he "often slept in his clothes and ... boots."[21]
These habits may have made him unpopular. His biographer Paolo
Giovio says, "His nature was so rough and uncouth that his domestic
habits were incredibly squalid, and deprived posterity of any pupils
who might have followed him."[22]
He may not have minded, since he was by nature a solitary and
melancholy person. He had a reputation for being bizzarro e
fantastico because he "withdrew himself from the company of men." [23]
Sexuality
Fundamental to Michelangelo's art is his love of male beauty, which
attracted him both aesthetically and emotionally. In part, this was an
expression of the Renaissance idealization of masculinity. But in
Michelangelo's art there is clearly a sensual response to this
aesthetic.[24]
The sculptor's expressions of love have been characterized as both Neoplatonic and openly homoerotic; recent scholarship seeks an
interpretation which respects both readings, yet is wary of drawing
absolute conclusions.[citation needed] One
example of the conundrum is Cecchino dei Bracci, whose death, only a year after
their meeting in 1543, inspired the writing of forty eight funeral epigrams, which by some accounts allude
to a relationship that was not only romantic but physical as well:
-
La carne terra, e qui l'ossa mia, prive
de' lor begli occhi, e del leggiadro aspetto
fan fede a quel ch'i' fu grazia nel letto,
che abbracciava, e' n che l'anima vive.[25]
|
The flesh now earth, and here my bones,
Bereft of handsome eyes, and jaunty air,
Still loyal are to him I joyed in bed,
Whom I embraced, in whom my soul now lives.
|
According to others, they represent an emotionless and elegant
re-imagining of Platonic dialogue, whereby erotic poetry was seen as an
expression of refined sensibilities (Indeed, it must be remembered that
professions of love in 16th century Italy were given a far wider
application than now).[26]
Some young men were street wise and took advantage of the sculptor. Febo di Poggio, in 1532, peddled his charms—in answer to
Michelangelo's love poem he asks for money. Earlier, Gherardo Perini, in 1522, had stolen from him shamelessly.
Michelangelo defended his privacy above all. When an employee of his
friend Niccolò Quaratesi offered his son as apprentice suggesting that
he would be good even in bed, Michelangelo refused indignantly,
suggesting Quaratesi fire the man.
The greatest written expression of his love was given to Tommaso dei Cavalieri (c. 1509–1587), who was 23
years old when Michelangelo met him in 1532, at the age of 57. Cavalieri
was open to the older man's affection: I swear to return your love.
Never have I loved a man more than I love you, never have I wished for a
friendship more than I wish for yours. Cavalieri remained devoted
to Michelangelo until his death.
Michelangelo dedicated to him over three hundred sonnets and madrigals, constituting the largest
sequence of poems that he composed. Some modern commentators assert that
the relationship was merely a Platonic affection, even suggesting that
Michelangelo was seeking a surrogate son.[27]
However, their homoerotic nature was recognized in his own time, so
that a decorous veil was drawn across them by his grand nephew,
Michelangelo the Younger, who published an edition of the poetry in 1623
with the gender of pronouns changed. John Addington Symonds, the early British
homosexual activist, undid this change by translating the original
sonnets into English and writing a two-volume biography, published in
1893.
A Ignudo, Sistine Chapel.
The sonnets are the first large sequence of poems in any modern
tongue addressed by one man to another, predating Shakespeare's sonnets to his young friend by fifty
years.
- I feel as lit by fire a cold countenance
- That burns me from afar and keeps itself ice-chill;
- A strength I feel two shapely arms to fill
- Which without motion moves every balance.
-
- — (Michael Sullivan, translation)
|
Late in life he nurtured a great love for the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and
who was in her late forties at the time. They wrote sonnets for each
other and were in regular contact until she died.
It is impossible to know for certain whether Michelangelo had
physical relationships (Condivi ascribed to him a "monk-like chastity"),[28]
but through his poetry and visual art we may at least glimpse the arc
of his imagination.[29]
See also
The asteroid 3001 Michelangelo and a crater on the
planet Mercury were named after Michelangelo.[30]
The character Michelangelo from Teenage Mutant Ninja Turtles
was named after Michelangelo.
The 1965 film The Agony and the Ecstasy
features the story of Michelangelo and his travails in painting the Sistine Chapel. He is portrayed in the film by Charlton Heston.
- a. ^
Michelangelo's father marks the date as 6 March 1474 in the Florentine
manner ab Incarnatione. However, in the Roman manner, ab
Nativitate, it is 1475.
- b. ^
Sources disagree as to how old Michelangelo was when he departed for
school. De Tolnay writes that it was at ten years old while Sedgwick
notes in her translation of Condivi that Michelangelo was seven.
- c. ^
The Strozzi family acquired the sculpture Hercules.
Filippo Strozzi sold it to Francis I in 1529. In 1594, Henry IV installed it in the Jardin d'Estang at Fontainebleau
where it disappeared in 1713 when the Jardin d'Estange was destroyed.
- d. ^
Vasari makes no mention of this episode and Paolo
Giovio's Life of Michelangelo indicates that Michelangelo
tried to pass the statue off as an antique himself.
References
- Notes
- ^ a
b
c
"Web Gallery of Art, image
collection, virtual museum, searchable database of European fine arts
(1100–1850)". www.wga.hu. http://www.wga.hu/frames-e.html?/bio/m/michelan/biograph.html. Retrieved 13 June 2008.
- ^ a
b
Michelangelo. (2008). Encyclopædia Britannica. Ultimate Reference
Suite.
- ^ Emison, Patricia. A (2004). Creating the "Divine Artist":
from Dante to Michelangelo. Brill. ISBN 9789004137097. http://books.google.ca/books?id=1EofecqX_vsC&pg=PA144&lpg=PA144&dq=michelangelo+%22il+divino%22&source=bl&ots=57G_UMFQdO&sig=_vDIOv0RDyZbbFJG6__cjZvjSOI&hl=en&ei=1Zc3StHaOKKUMoGPmJIN&sa=X&oi=book_result&ct=result&resnum=6#PPP1,M1.
- ^ a
b
c
J. de Tolnay, The Youth of Michelangelo, 11
- ^ a
b
C. Clément, Michelangelo, 5
- ^ A.
Condivi, The Life of Michelangelo, 5
- ^ a
b
A. Condivi, The Life of Michelangelo, 9
- ^
R. Liebert, Michelangelo: A Psychoanalytic Study of his Life and
Images, 59
- ^ C.
Clément, Michelangelo, 7
- ^ C.
Clément, Michelangelo, 9
- ^
J. de Tolnay, The Youth of Michelangelo, 18–19
- ^ a
b
A. Condivi, The Life of Michelangelo, 15
- ^ "Will the Real Michelangelo Please
Stand Up?". http://arthistory.about.com/b/2008/07/27/will-the-real-michelangelo-please-stand-up.htm. Retrieved 14 December 2009.
- ^ a
b
J. de Tolnay, The Youth of Michelangelo, 20–21
- ^
A. Condivi, The Life of Michelangelo, 17
- ^ a
b
J. de Tolnay, The Youth of Michelangelo, 24–25
- ^
A. Condivi, The Life of Michelangelo, 19–20
- ^
J. de Tolnay, The Youth of Michelangelo, 26–28
- ^
Catterson, Lynn. "Michelangelo's 'Laocoön?'" Artibus et historiae. 52.
2005: p. 33
- ^ "Michelangelo 'last sketch' found". BBC News. 7
December 2007. http://news.bbc.co.uk/2/hi/europe/7133116.stm. Retrieved 9 February 2009.
- ^ a
b
c
Condivi, The Life of Michelangelo, p. 106.
- ^
Paola Barocchi (ed.) Scritti d'arte del cinquecento, Milan, 1971;
vol. I p. 10.
- ^
Condivi, The Life of Michelangelo, p. 102.
- ^
Hughes, Anthony: "Michelangelo"., page 327. Phaidon, 1997.
- ^ "Michelangelo Buonarroti" by Giovanni Dall'Orto
Babilonia n. 85, January 1991, pp. 14–16 (Italian)
- ^
Hughes, Anthony: "Michelangelo.", page 326. Phaidon, 1997.
- ^
"Michelangelo", The New Encyclopaedia Britannica, Macropaedia, Volume
24, page 58, 1991. The text goes so far as to claim, a bit
defensively, 'These have naturally been interpreted as indications that
Michelangelo was a homosexual, but such a reaction according to the
artist's own statement would be that of the ignorant'.
- ^
Hughes, Anthony, "Michelangelo"., page 326. Phaidon, 1997.
- ^
Scigliano, Eric: "Michelangelo's Mountain; The Quest for Perfection
in the Marble Quarries of Carrara.", Simon and Schuster, 2005.
Retrieved 27 January 2007
- ^
Gallant, R., 1986. National Geographic Picture Atlas of Our Universe.
National Geographic Society, 2nd edition. ISBN 0870446444
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