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Like his late series of drawings of the Crucifixion and the sculpture of the Deposition of Christ intended for his own tomb, it was produced at a time when Michelangelo's sense of his own mortality was growing. [6] He had worked on the sculpture all day, just six days before his death. [7]
Cristo della Minerva (Christ Carrying the Cross) 1519–1520 church of Santa Maria sopra Minerva, Rome Marble height 205 cm Brutus: 1538 Museo Nazionale del Bargello, Florence: Marble height 95 cm Florentine Pietà: c. 1547 – 1553 Museo dell'Opera del Duomo, Florence: Marble height 253 cm Rondanini Pietà: 1552–1564 [4] Castello Sforzesco ...
Michelangelo was a prolific draftsman, as he was trained in a Florentine workshop at a dynamic time in the art scene, when paper had become readily available in sufficient quantity. [25] As follows, sketching was the first step in Michelangelo's artistic process, as it helped him plan his final paintings and sculptural pieces.
The exact date of execution of the statue is unknown, but it is usually related to the project for the tomb of Julius II.It is thought to have been intended for one of the lower niches of one of the last projects for the tomb, perhaps that of 1532 for which the so-called Captives or "Provinces" now in the Galleria dell'Accademia of Florence may have also been made.
The theme of the Pietà, so dear to the sculptor Michelangelo, is addressed in a highly emotional composition, as in the Crucifixion for Colonna. The dead Jesus is cradled between the grieving Mary's legs, who raises her arms to heaven as two angels also raise Christ's arms at right angles.
Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...
In 1962, Santo Spirito Crucifix was put on display at the museum in Florence that is dedicated to the works of Michelangelo and the history of his family, Casa Buonarroti, and the investigations into its authenticity ensued that confirmed the attribution to Michelangelo in 2001, determining that the sculpture might have been executed as early ...
Michelangelo depicted a scene at the beginning of the battle, when the Florentine army was initially taken by surprise in the attack by the Pisans. He depicts Florentine soldiers bathing naked in the river Arno, responding to a trumpet warning of the Pisan attack. As the soldiers emerge from the river and buckle on their armour, they are ...