Thread: Michelangelo (1475-1564) was one of the greatest artists of the Renaissance whose paintings, drawings, sculpture & architecture have always been famous. He was seminal in combining the art of Classical Greece with humanism & emotion. He died on this day
We know from records he eschewed luxuries, dressed slovenly & took little care over his appearance. He even exhibited a badly broken nose. Here’s a bust of him by Volterra (1564-6). He was deeply religious but also gay. He sublimated his urges in his art.
We know from records he eschewed luxuries, dressed slovenly & took little care over his appearance. He even exhibited a badly broken nose. Here’s a bust of him by Volterra (1564-6). He was deeply religious but also gay. He sublimated his urges in his art.
We know from records he eschewed luxuries, dressed slovenly & took little care over his appearance. He even exhibited a badly broken nose. Here’s a bust of him by Volterra (1564-6). He was deeply religious but also gay. He sublimated his urges in his art.
We know from records he eschewed luxuries, dressed slovenly & took little care over his appearance. He even exhibited a badly broken nose. Here’s a bust of him by Volterra (1564-6). He was deeply religious but also gay. He sublimated his urges in his art.
Here’s a thread with my own artwork. It’s about hope, empathy, joy & love. https://twitter.com/robertbohan/status/1362111787026497536
We are discovering too, the importance of his sexuality to his work. A case in point is his statue of Victory (1532-4) where the head beneath the handsome man’s feet is a self-portrait & the warrior is believed to be an idealised image of his muse, Tommaso dei Cavalieri.
We are discovering too, the importance of his sexuality to his work. A case in point is his statue of Victory (1532-4) where the head beneath the handsome man’s feet is a self-portrait & the warrior is believed to be an idealised image of his muse, Tommaso dei Cavalieri.
We are discovering too, the importance of his sexuality to his work. A case in point is his statue of Victory (1532-4) where the head beneath the handsome man’s feet is a self-portrait & the warrior is believed to be an idealised image of his muse, Tommaso dei Cavalieri.
We are discovering too, the importance of his sexuality to his work. A case in point is his statue of Victory (1532-4) where the head beneath the handsome man’s feet is a self-portrait & the warrior is believed to be an idealised image of his muse, Tommaso dei Cavalieri.
Born in Tuscany of upper middle class origin; his nanny was the wife of a stone-cutter & lived nr the family’s marble quarry, where he first learnt his love of carving. He was apprenticed to Ghirlandaio in 1488, aged 13. He created Madonna of the Stairs (1490-2) aged c16!
In 1489 he & Francesco Granacci were chosen by his master as his greatest students, to attend the Medici Humanist Academy (1490-2). He sculpted the Battle of the Centaurs (1491-2). Aged 17 he was boffed by Torrigiano & given a broken nose.
His genius is shown by his influence on the older Granacci, who painted Flight into Egypt c1494, 1st pic .
@NGIreland Granacci returned to the subject, with less success: 2&3). It’s poss that M’angelo gave him a cartoon for the 1st work which resulted in Granacci’s greatest pic.
His genius is shown by his influence on the older Granacci, who painted Flight into Egypt c1494, 1st pic . @NGIreland Granacci returned to the subject, with less success: 2&3). It’s poss that M’angelo gave him a cartoon for the 1st work which resulted in Granacci’s greatest pic.
His genius is shown by his influence on the older Granacci, who painted Flight into Egypt c1494, 1st pic . @NGIreland Granacci returned to the subject, with less success: 2&3). It’s poss that M’angelo gave him a cartoon for the 1st work which resulted in Granacci’s greatest pic.
His genius is shown by his influence on the older Granacci, who painted Flight into Egypt c1494, 1st pic . @NGIreland Granacci returned to the subject, with less success: 2&3). It’s poss that M’angelo gave him a cartoon for the 1st work which resulted in Granacci’s greatest pic.
With the death of Lorenzo de’ Medici, Michelangelo returned home & carved a Crucifix (1493). He also studied anatomy. By 1494 he was back under Medici patronage. Angel with Candlestick (1494-5) & St Proculus (1494)
With the death of Lorenzo de’ Medici, Michelangelo returned home & carved a Crucifix (1493). He also studied anatomy. By 1494 he was back under Medici patronage. Angel with Candlestick (1494-5) & St Proculus (1494)
With the death of Lorenzo de’ Medici, Michelangelo returned home & carved a Crucifix (1493). He also studied anatomy. By 1494 he was back under Medici patronage. Angel with Candlestick (1494-5) & St Proculus (1494)
In 1496 he was called to Rome where he carved his drunken Bacchus. Despite its brilliance some saw the subject as vulgar. In 1497 he was commissioned to carve the Pietà. This is considered by many to be the greatest sculpture in Western art. Pietà (1499) & Bacchus (1497)
In 1496 he was called to Rome where he carved his drunken Bacchus. Despite its brilliance some saw the subject as vulgar. In 1497 he was commissioned to carve the Pietà. This is considered by many to be the greatest sculpture in Western art. Pietà (1499) & Bacchus (1497)
In 1496 he was called to Rome where he carved his drunken Bacchus. Despite its brilliance some saw the subject as vulgar. In 1497 he was commissioned to carve the Pietà. This is considered by many to be the greatest sculpture in Western art. Pietà (1499) & Bacchus (1497)
In 1496 he was called to Rome where he carved his drunken Bacchus. Despite its brilliance some saw the subject as vulgar. In 1497 he was commissioned to carve the Pietà. This is considered by many to be the greatest sculpture in Western art. Pietà (1499) & Bacchus (1497)
He was a committed Roman Catholic, which was at odds with his sexuality & which I think caused him great anxiety. He sublimated his emotion in his art (as far as we know) & created a series of astonishingly sensual male nudes, especially in drawings. Male Nudes (1500s)
He was a committed Roman Catholic, which was at odds with his sexuality & which I think caused him great anxiety. He sublimated his emotion in his art (as far as we know) & created a series of astonishingly sensual male nudes, especially in drawings. Male Nudes (1500s)
He was a committed Roman Catholic, which was at odds with his sexuality & which I think caused him great anxiety. He sublimated his emotion in his art (as far as we know) & created a series of astonishingly sensual male nudes, especially in drawings. Male Nudes (1500s)
He was a committed Roman Catholic, which was at odds with his sexuality & which I think caused him great anxiety. He sublimated his emotion in his art (as far as we know) & created a series of astonishingly sensual male nudes, especially in drawings. Male Nudes (1500s)
He was a committed Roman Catholic, which was at odds with his sexuality & which I think caused him great anxiety. He sublimated his emotion in his art (as far as we know) & created a series of astonishingly sensual male nudes, especially in drawings. Male Nudes (1500s)
The artist was back in Florence by 1499. There he completed David. It is considered one of his greatest masterpieces & draws millions of visitors to the Accademia to view this defiantly beautiful warrior. A copy is outside the Palazzo Vecchio. Madonna & Child (1501-5)
The artist was back in Florence by 1499. There he completed David. It is considered one of his greatest masterpieces & draws millions of visitors to the Accademia to view this defiantly beautiful warrior. A copy is outside the Palazzo Vecchio. Madonna & Child (1501-5)
The artist was back in Florence by 1499. There he completed David. It is considered one of his greatest masterpieces & draws millions of visitors to the Accademia to view this defiantly beautiful warrior. A copy is outside the Palazzo Vecchio. Madonna & Child (1501-5)
The artist was back in Florence by 1499. There he completed David. It is considered one of his greatest masterpieces & draws millions of visitors to the Accademia to view this defiantly beautiful warrior. A copy is outside the Palazzo Vecchio. Madonna & Child (1501-5)
The Entombment of Christ (c1500-1) is an incomplete image by the master. The twisted form of Christ & the struggling figures lifting His body are typical of Michelangelo & it can be seen in the National Gallery, London . @NationalGallery
The Florentine also painted the Doni Tondo (1506) & the Manchester Madonna. The Tondo (circular painting) is in the Ufizzi & the unfinished Madonna in the National Gallery in London. Tondo Pitti (1504-5) & Taddei Tondo (1505-6). He loved the Tondo format
The Florentine also painted the Doni Tondo (1506) & the Manchester Madonna. The Tondo (circular painting) is in the Ufizzi & the unfinished Madonna in the National Gallery in London. Tondo Pitti (1504-5) & Taddei Tondo (1505-6). He loved the Tondo format
The Florentine also painted the Doni Tondo (1506) & the Manchester Madonna. The Tondo (circular painting) is in the Ufizzi & the unfinished Madonna in the National Gallery in London. Tondo Pitti (1504-5) & Taddei Tondo (1505-6). He loved the Tondo format
The Florentine also painted the Doni Tondo (1506) & the Manchester Madonna. The Tondo (circular painting) is in the Ufizzi & the unfinished Madonna in the National Gallery in London. Tondo Pitti (1504-5) & Taddei Tondo (1505-6). He loved the Tondo format
The Florentine also painted the Doni Tondo (1506) & the Manchester Madonna. The Tondo (circular painting) is in the Ufizzi & the unfinished Madonna in the National Gallery in London. Tondo Pitti (1504-5) & Taddei Tondo (1505-6). He loved the Tondo format
Pope Julius II called him back to Rome in 1505. There he started on the Pope’s (unfinished) tomb. This included Moses (1516) as well as the Dying & Rebellious Slaves in the Louvre, Paris. At this stage in his career he was recognised as one of the worlds greatest artists.
Pope Julius II called him back to Rome in 1505. There he started on the Pope’s (unfinished) tomb. This included Moses (1516) as well as the Dying & Rebellious Slaves in the Louvre, Paris. At this stage in his career he was recognised as one of the worlds greatest artists.
Pope Julius II called him back to Rome in 1505. There he started on the Pope’s (unfinished) tomb. This included Moses (1516) as well as the Dying & Rebellious Slaves in the Louvre, Paris. At this stage in his career he was recognised as one of the worlds greatest artists.
Pope Julius II called him back to Rome in 1505. There he started on the Pope’s (unfinished) tomb. This included Moses (1516) as well as the Dying & Rebellious Slaves in the Louvre, Paris. At this stage in his career he was recognised as one of the worlds greatest artists.
Another sculpture for the tomb was the Triumph of Victory (1532-4) which is currently on show in the Palazzo Vecchio. It is believed that the semi-nude victor was modelled on an idealised Tommaso dei Cavaliero & the vanquished old man was a self-portrait
Another sculpture for the tomb was the Triumph of Victory (1532-4) which is currently on show in the Palazzo Vecchio. It is believed that the semi-nude victor was modelled on an idealised Tommaso dei Cavaliero & the vanquished old man was a self-portrait
Another sculpture for the tomb was the Triumph of Victory (1532-4) which is currently on show in the Palazzo Vecchio. It is believed that the semi-nude victor was modelled on an idealised Tommaso dei Cavaliero & the vanquished old man was a self-portrait
Another sculpture for the tomb was the Triumph of Victory (1532-4) which is currently on show in the Palazzo Vecchio. It is believed that the semi-nude victor was modelled on an idealised Tommaso dei Cavaliero & the vanquished old man was a self-portrait
He painted the ceiling of the Sistine Chapel in the Vatican (1508-12). The image at the centre of the work, The Creation of Adam, is one of the most famed in art history. The impact of the work when first seen in real life is astonishing & vertigo inducing!
He painted the ceiling of the Sistine Chapel in the Vatican (1508-12). The image at the centre of the work, The Creation of Adam, is one of the most famed in art history. The impact of the work when first seen in real life is astonishing & vertigo inducing!
He painted the ceiling of the Sistine Chapel in the Vatican (1508-12). The image at the centre of the work, The Creation of Adam, is one of the most famed in art history. The impact of the work when first seen in real life is astonishing & vertigo inducing!
He painted the ceiling of the Sistine Chapel in the Vatican (1508-12). The image at the centre of the work, The Creation of Adam, is one of the most famed in art history. The impact of the work when first seen in real life is astonishing & vertigo inducing!
Each of the figures on the ceiling was the result of serious preparations & anatomical study. Here’s one of the preparatory drawings for Adam as well as studies for the Libyan Sibyl. As the ceiling progressed he scratched from memory directly on the wet plaster.
Each of the figures on the ceiling was the result of serious preparations & anatomical study. Here’s one of the preparatory drawings for Adam as well as studies for the Libyan Sibyl. As the ceiling progressed he scratched from memory directly on the wet plaster.
Each of the figures on the ceiling was the result of serious preparations & anatomical study. Here’s one of the preparatory drawings for Adam as well as studies for the Libyan Sibyl. As the ceiling progressed he scratched from memory directly on the wet plaster.
In 1520 he was asked to create a funerary chapel for the Medici. This was done in the 1520s-30s. He created superb idealised sculptures of Lorenzo de’ Medici & the Duke of Nemours in the Medici Chapel. The idealised image of the Duke Is a loose portrait of Cavalieri
In 1520 he was asked to create a funerary chapel for the Medici. This was done in the 1520s-30s. He created superb idealised sculptures of Lorenzo de’ Medici & the Duke of Nemours in the Medici Chapel. The idealised image of the Duke Is a loose portrait of Cavalieri
In 1520 he was asked to create a funerary chapel for the Medici. This was done in the 1520s-30s. He created superb idealised sculptures of Lorenzo de’ Medici & the Duke of Nemours in the Medici Chapel. The idealised image of the Duke Is a loose portrait of Cavalieri
In 1520 he was asked to create a funerary chapel for the Medici. This was done in the 1520s-30s. He created superb idealised sculptures of Lorenzo de’ Medici & the Duke of Nemours in the Medici Chapel. The idealised image of the Duke Is a loose portrait of Cavalieri
A work that has caused some discussion amongst art historians is his Risen Christ (1521). The original version was abandoned & this one was created, hastily, with the aide of others. However the torso, legs & contrappasto are Michelangelo’s
A work that has caused some discussion amongst art historians is his Risen Christ (1521). The original version was abandoned & this one was created, hastily, with the aide of others. However the torso, legs & contrappasto are Michelangelo’s
A work that has caused some discussion amongst art historians is his Risen Christ (1521). The original version was abandoned & this one was created, hastily, with the aide of others. However the torso, legs & contrappasto are Michelangelo’s
The great love of Michelangelo’s life was Tommaso dei Cavalieri & he wrote poems & presented drawings to him. He created The Dream (c1533) for his friend & suggested their relationship in his The Genius of Victory (above). He was wracked by Catholic guilt regarding his love
Michelangelo’s great friend was Vittoria Colonna, a poet & aristocrat. They wrote each other poems & she was the woman who was closest to him, spiritually. He created his astonishingly beautiful & transubstantial Pietà drawing for her
By 1534 he was back in Rome where he painted the Last Judgement which included a self-portrait as a flayed skin (1534-41). The work was later censored by the addition of underpants to the naked Christ & others. Cavalieri appears as St Sebastian (final jpeg)
By 1534 he was back in Rome where he painted the Last Judgement which included a self-portrait as a flayed skin (1534-41). The work was later censored by the addition of underpants to the naked Christ & others. Cavalieri appears as St Sebastian (final jpeg)
By 1534 he was back in Rome where he painted the Last Judgement which included a self-portrait as a flayed skin (1534-41). The work was later censored by the addition of underpants to the naked Christ & others. Cavalieri appears as St Sebastian (final jpeg)
By 1534 he was back in Rome where he painted the Last Judgement which included a self-portrait as a flayed skin (1534-41). The work was later censored by the addition of underpants to the naked Christ & others. Cavalieri appears as St Sebastian (final jpeg)
By 1534 he was back in Rome where he painted the Last Judgement which included a self-portrait as a flayed skin (1534-41). The work was later censored by the addition of underpants to the naked Christ & others. Cavalieri appears as St Sebastian (final jpeg)
An unfinished piece from his last years is the Rondanini Pietà (1552-64). The figures are elongated, almost etiolated. The feeling is of deep & spiritual emotion. It is one of 3 Pietàs he created & is in the Sforza Castle, Milan. We see the birth of expressionism in the work.
An unfinished piece from his last years is the Rondanini Pietà (1552-64). The figures are elongated, almost etiolated. The feeling is of deep & spiritual emotion. It is one of 3 Pietàs he created & is in the Sforza Castle, Milan. We see the birth of expressionism in the work.
An unfinished piece from his last years is the Rondanini Pietà (1552-64). The figures are elongated, almost etiolated. The feeling is of deep & spiritual emotion. It is one of 3 Pietàs he created & is in the Sforza Castle, Milan. We see the birth of expressionism in the work.
An unfinished piece from his last years is the Rondanini Pietà (1552-64). The figures are elongated, almost etiolated. The feeling is of deep & spiritual emotion. It is one of 3 Pietàs he created & is in the Sforza Castle, Milan. We see the birth of expressionism in the work.
One of Michelangelo’s great achievements was to raise the art of drawing from simply a preparatory exercise to a significant art form. Drawings are immediate, personal & go to the core of an artist’s emotion & concerns. That’s why they are my favourite medium.
One of Michelangelo’s great achievements was to raise the art of drawing from simply a preparatory exercise to a significant art form. Drawings are immediate, personal & go to the core of an artist’s emotion & concerns. That’s why they are my favourite medium.
One of Michelangelo’s great achievements was to raise the art of drawing from simply a preparatory exercise to a significant art form. Drawings are immediate, personal & go to the core of an artist’s emotion & concerns. That’s why they are my favourite medium.
One of Michelangelo’s great achievements was to raise the art of drawing from simply a preparatory exercise to a significant art form. Drawings are immediate, personal & go to the core of an artist’s emotion & concerns. That’s why they are my favourite medium.
My unique ink drawings are available in my Etsy shop & ship worldwide. They explore the natural & subconscious worlds. Take a look https://twitter.com/robertbohan/status/1361370286420094976
You can follow @RobertBohan.
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