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In 1504 Leonardo da Vinci was given the commission by gonfaloniere Piero Soderini, a contract signed by Niccolò Machiavelli, to decorate the Palazzo Vecchio's Salone dei Cinquecento (Hall of the Five Hundred). At the same time his rival Michelangelo, who had just finished his David, was designated the opposite wall. This was the only time that ...
The work was commissioned from Michelangelo by Piero Soderini, statesman of the Republic of Florence. It was intended for a wall of the Salone dei Cinquecento in the Palazzo Vecchio. The opposite wall was to be decorated by Leonardo da Vinci, who was commissioned to depict the Battle of Anghiari. [2]
The other wall was to have a painting by Michelangelo depicting an earlier Florentine victory at the Battle of Cascina in 1364. A 1687 relief sculpture depicting the battle by Baroque artist Giovanni Battista Foggini in Santa Maria del Carmine, Florence depicts Saint Andrew Corsini guiding the Florentine forces to victory.
Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. [3] Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century.
Thus Michelangelo set the tomb aside to paint a fresco in the Sistine Chapel. [8] Michelangelo was commissioned to do the tombs of Lorenzo de' Medici's grandson, Giuliano, duke of Nemours and Lorenzo's third son, and popes Leo X and Clement VII, both Medici; also Lorenzo il Magnifico. Only two were completed: Giuliano's and Lorenzo's.
Based on the Vincenzo Labella's book Una stagione di giganti, it depicts real life events of Michelangelo, his youth, his approach with art, his friendship with Leonardo da Vinci and Raphael, and his involvement in great political and religious events. [1] [2] [3] [4]
Da Vinci did not get to sit around and gab with Pope Leo X, but the pope’s brother, Giuilano de Medici, was da Vinci’s patron, and arranged for the artist to come to Rome in search of ...
The Death of Leonardo da Vinci, by Ingres, 1818 [u] The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of ...