"of the scene. The Sculpture stayed with the Bandini family in Rome until 1671 when it was sold to Cosimo III. Cosimo III brought the sculpture to Florence where it went around from museum to museum for a while. The Florentine Pietà currently resides in the Museo dell ‘Opera del Duomo. The Deposition (Michelangelo) The Deposition (also called the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance master Michelangelo. The sculpture, on which Michelangelo worked between 1547 and 1555, depicts four figures: the dead body of Jesus Christ, newly taken"
"Taddei Tondo The Taddei Tondo or The Virgin and Child with the Infant St John is a marble relief tondo (circular composition) by Italian Renaissance artist Michelangelo Buonarroti. Part of the permanent collection of the Royal Academy of Arts in London, it is the only marble sculpture by Michelangelo in Great Britain. A ""perfect demonstration"" of his carving technique, the work delivers a ""powerful emotional and narrative punch"". The tondo dates to Michelangelo's time in Florence before his move to Rome in 1505. According to Vasari, while working on his David, ""also at this time he blocked out but did"
"One of the four massive sculptures in the crossing of St. Peter's Basilica, the statue of the frantic ""Saint Veronica"" displaying the by then lost Veil of Veronica (1629–40) is the best-known masterpiece by Mochi, in the most prominent position. The other three are François Duquesnoy's (Saint Andrew), Bernini's (Saint Longinus), and Andrea Bolgi's (St Helena). Of the four, Mochi's is the least appropriate to its site and topic, the most idiosyncratic and original. Bernini's ""Longinus"" is an intermediary between the sober but contorting classicism of Bolgi and Duquesnoy and the emotive dynamism of Mochi. Mochi's passionate depiction appears oversteps"
"Brutus (Michelangelo) The Brutus is a marble bust of Brutus sculpted by Michelangelo around 1539–1540. It is now in the Bargello museum in Florence. The sculpture gives Brutus an heroic aspect in keeping with political sentiment against tyranny at the time of its creation. It belongs to—and may have initiated—a revival of the classical bust in sculpture. Michelangelo carved the ""Brutus"" a few years after the defeat of the Republic of Florence (1527–1531). As a supporter of the Florentine Republic who designed and supervised the remodeling and construction of its fortifications, Michelangelo was a strong opponent of tyranny. In the"
"The Crucifixion of St. Peter (Michelangelo) The Crucifixion of St. Peter is a fresco painting by the Italian Renaissance master Michelangelo Buonarroti (c. 1546–1550). It is housed in the Cappella Paolina, Vatican Palace, in the Vatican City, Rome. It is the last fresco executed by Michelangelo. The artist portrayed St. Peter in the moment in which he was raised by the Roman soldiers to the cross. Michelangelo concentrated the attention on the depiction of pain and suffering. The faces of the people present are clearly distressed. Pope Paul commissioned this fresco by Michelangelo in 1541 and unveiled it in his"
"lost, and probably deliberately destroyed, is Michelangelo's tempera painting of the pair making love, commissioned in 1529 by Alfonso d'Este for his palazzo in Ferrara, and taken to France for the royal collection in 1532; it was at Fontainebleau in 1536. Michelangelo's cartoon for the work—given to his assistant Antonio Mini, who used it for several copies for French patrons before his death in 1533—survived for over a century. This composition is known from many copies, including an by Cornelis Bos, c. 1563; the marble sculpture by Bartolomeo Ammanati in the Bargello, Florence; two copies by the young Rubens on"
"regions. List of the cardinal titulars of the church<ref> San Pietro in Vincoli San Pietro in Vincoli (Saint Peter in Chains) is a Roman Catholic titular church and minor basilica in Rome, Italy, best known for being the home of Michelangelo's statue of Moses, part of the tomb of Pope Julius II. The ""Titulus S. Petri ad vincula"" was assigned on 20 November 2010, to Donald Wuerl. The previous Cardinal Priest of the basilica was Pío Laghi, who died on 11 January 2009. Next to the church is hosted the Faculty of Engineering of La Sapienza University, in the former"
"San Pietro in Vincoli San Pietro in Vincoli (Saint Peter in Chains) is a Roman Catholic titular church and minor basilica in Rome, Italy, best known for being the home of Michelangelo's statue of Moses, part of the tomb of Pope Julius II. The ""Titulus S. Petri ad vincula"" was assigned on 20 November 2010, to Donald Wuerl. The previous Cardinal Priest of the basilica was Pío Laghi, who died on 11 January 2009. Next to the church is hosted the Faculty of Engineering of La Sapienza University, in the former convent building. This is named ""San Pietro in Vincoli"""
"a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh."" It is now located in St Peter's Basilica. Michelangelo returned to Florence in 1499. The republic was changing after the fall of its leader, anti-Renaissance priest Girolamo Savonarola, who was executed in 1498, and the rise of the ""gonfaloniere"" Piero Soderini. Michelangelo 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 of Carrara marble portraying David as a symbol of"
"Apollo (Michelangelo) The Apollo, Apollo-David, David-Apollo, or Apollino is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence. The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with"
"on Culture and Education and a member of the Delegation to the EU-Croatia Joint Parliamentary Committee. Tomczak made the headlines in Poland in 2000, when, together with fellow Polish Agreement member Halina Nowina-Konopka, he damaged a sculpture by Italian artist Maurizio Cattelan on display in the National Gallery of Art Zachęta in Warsaw. Entitled ""La Nona Ora"" (The Ninth Hour), the sculpture is an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor. Tomczak stated he damaged the sculpture ""because this is what my voters expected me to do"". At the scene, Tomczak and"
"sole regret in life was that he did not kiss the widow's face in the same manner that he had her hand. The ""Madonna of the Steps"" is Michelangelo's earliest known work in marble. It is carved in shallow relief, a technique often employed by the master-sculptor of the early 15th century, Donatello, and others such as Desiderio da Settignano. While the Madonna is in profile, the easiest aspect for a shallow relief, the child displays a twisting motion that was to become characteristic of Michelangelo's work. The ""Taddeo Tondo"" of 1502 shows the Christ Child frightened by a Bullfinch,"
"having at a distance all the effect of a rich picture in chiaroscuro"". With its differing degrees of finish the tondo is an outstanding technical study piece; plaster casts may be found at the Victoria and Albert Museum and Fitzwilliam Museum. Taddei Tondo The Taddei Tondo or The Virgin and Child with the Infant St John is a marble relief tondo (circular composition) by Italian Renaissance artist Michelangelo Buonarroti. Part of the permanent collection of the Royal Academy of Arts in London, it is the only marble sculpture by Michelangelo in Great Britain. A ""perfect demonstration"" of his carving technique,"
"Leda and the Swan (Michelangelo) Leda and the Swan is a lost tempera on canvas painting by Michelangelo, produced in 1530 but now only surviving in copies and variants. The work depicted the Greek myth of Leda and the Swan. In 1512 Alfonso I d'Este, Duke of Ferrara went to Rome to reconcile with Pope Julius II, who had excommunicated him in summer 1510 for his alliance with Louis XII of France against the Republic of Venice. Julius absolved him and Alfonso spent a few days in Rome before returning to Ferrara. On 11 July he visited the Sistine Chapel,"
"for him to place in the tomb. It is unclear which of these possibilities is actually true, but due to the conventions and traditions surrounding this sculpture, art historians and other scholars stand by that this is a Pietà and the hooded figure is Nicodemus. One night in 1555, Michelangelo attacked the group in a moment of frustration in an attempt to completely destroy it. He broke off numerous limbs from the figure. Vasari noted that Michelangelo had complained about a vein in the marble causing problems for him continuously while carving. Another factor that intensified Michelangelo's frustration was that"
"drawings by Michelangelo; by an excess of praise this work was at one time grouped with Raphael's ""Transfiguration"" and the ""Last Communion of St. Jerome"" by Domenichino as the most famous pictures in Rome. Daniele's two-sided painting of David killing Goliath (restored in 2008) in the Louvre too seems to have been based on Michelangelo's designs; for a long time it was attributed to him. Other notable works include the ""Massacre of the Innocents"" (1557) in the Uffizi Gallery, Florence, a portrait he drew of Michelangelo and a bust he made from Michelangelo's death mask. A well-known sculpture is the"
"Ghirlandaio and Filippino Lippi. The parish church of Santa Maria Assunta houses a fifteenth-century altarpiece painted by Michelangelo di Pietro. Michelangelo di Pietro Michelangelo di Pietro, also Michelangelo di Pietro Membrini and Master of the Lathrop Tondo, (active 1490-1520) was an Italian painter. His exact dates of birth and death are not known. The artist was previously only known as the Master of the Lathrop Tondo, until the works could be attributed to Michelangelo di Pietro in 1985. His works are characterized by an enameled, metallic finish and a decorative, linear Florentine School style. There is now approximately thirty paintings"
"clean her left leg. Other sources put forward include figures from Michelangelo's tomb in Basilica of Santa Croce, Florence. The Stockholm artist Gerhardt Meyer made a bronze statue after the work in 1697. A number of painted plaster casts were also produced around this time, indicating its popularity. It has been restored twice. The first repairs date to the late eighteenth century, and reconstructed damage sustained to her hands and feet. The second was conducted in London c 1980 when marble was added to replace loss at the top of the vase and above her left middle finger, while three"
"of cadavers carried forward the understanding of skeletal and muscular anatomy, as seen in the unfinished ""St Jerome"". His depiction of human emotion in ""The Last Supper"", completed 1495-1498, set the benchmark for religious painting. The art of Leonardo's younger contemporary Michelangelo took a very different direction. Michelangelo, in neither his painting nor his sculpture demonstrates any interest in the observation of any natural object except the human body. He perfected his technique in depicting it, while in his early twenties, by the creation of the enormous marble statue of ""David"" and the group ""the Pieta"", in St Peter's Basilica,"
"around 1539–1540. The National Museum of Bargello in Florence, where the statue is usually displayed, also dates the work to 1539–1540 Thomas Martin questions this date, which originates with Giorgio Vasari, noting that ""Brutus"" did not leave Michelangelo's workshop until about 1555 and suggesting that the sculpture might have been crafted over a long period, perhaps commissioned to commemorate the death of Lorenzino de' Medici in 1548. The sculpture is generally considered influential in reviving the classical bust form in sculpture. In Martin's view, however, the later dates of the sculpture make it a later comer to the trend. ""Brutus"""
"Tolnay believes that one of these men, namely Donato Giannotti, inspired the bust of Brutus. ""The Bust is important for understanding [Michelangelo] Buonarroti’s political views,"" De Tolnay states. “Michelangelo’s conception of Brutus is clearly expressed in this bust: It represents heroic scorn for those who would destroy liberty.” Contemporaries may have connected the sculpture with the assassination of Alessandro de' Medici, Duke of Florence, by Lorenzino de' Medici in 1537. Johannes Wilde, another lifetime Michelangelo scholar, also sees the Brutus as a “glorification of liberty from tyranny.” Wilde suggests the sculpture remained unfinished. De Tolnay suggests the bust was created"
"this degree. Georgia Illetschko insisted in 2004, these unfinished surfaces are ""a conscious compositional element."", and not due to a lack of time. According to Scigliano, it was an important development in the non finito sculpting technique. Battle of the Centaurs (Michelangelo) Battle of the Centaurs is a relief by Italian Renaissance artist Michelangelo, created around 1492. It was the last work Michelangelo created while under the patronage of Lorenzo de' Medici, who died shortly after its completion. Inspired by a classical relief created by Bertoldo di Giovanni, the marble sculpture depicts the mythic battle between the Lapiths and the"
"are also in the cathedral of Toledo. However, the painting most frequently mentioned in the sources, “Saint Leo,” executed for the church of Santa Maria di Constantinopoli in Rome, where it remained until 1700, is now lost. The works that Del Po produced in Naples include twelve paintings with the scene from the Passion of Christ and several frescoes, now destroyed, representing the Resurrection, Pentecost, and Assumption, all painted for the church of Santa Barbara in Castel Nuovo. Pietro painted primarily religious subjects, and less frequently, profane historical and mythological themes. His compositions and his female figure types reveal the"
"Medici Madonna The Medici Madonna is a marble sculpture carved by Italian Renaissance master Michelangelo Buonarroti that measures about 88.98 inches (226 cm) in height. Dating from 1521–1534 the sculpture is a piece of the altar decoration of the ""Sagrestia Nuova"" in the Basilica of San Lorenzo, Florence. The work, according to Michelangelo's letters and other documents, was one of the first works begun for the decoration of the ""Sagrestia Vecchia"" (Old Sacristy), as early as 1521. In 1526 it was still incomplete and in 1534, when Michelangelo moved to Rome, it was left in the current unfinished state and"
"writers of the day, including Marsilio Ficino, Pico della Mirandola and Poliziano. At this time, Michelangelo sculpted the reliefs ""Madonna of the Steps"" (1490–1492) and ""Battle of the Centaurs"" (1491–1492), the latter based on a theme suggested by Poliziano and commissioned by Lorenzo de Medici. Michelangelo worked for a time with the sculptor Bertoldo di Giovanni. When he was seventeen, another pupil, Pietro Torrigiano, struck him on the nose, causing the disfigurement that is conspicuous in the portraits of Michelangelo. Lorenzo de' Medici's death on 8 April 1492 brought a reversal of Michelangelo's circumstances. Michelangelo left the security of the"
"of Matteo directly below. The Costanzo coat of arms, three pairs of ribs, can be seen on the tomb on the base of the Virgin's throne. (Some scholars have speculated that St. Nicasius himself is actually a portrait of Matteo.) The work has suffered bad restorations in the past centuries, and was stolen on December 10, 1972. After being recovered, it was accurately restored in 2002-2003 by the Accademia Laboratories in Venice and displayed in the major exhibition ""Le maraviglie dell'arte"", before being returned to its home in Castelfranco in December 2005. Castelfranco Madonna The Madonna and Child Between St."
"many at the Vatican, including: Michelangelo's ""The Crucifixion of St Peter"" and ""The Conversion of Saul"" at the Capella Paolina. He restored frescoes by Ciro Ferri and Baciccia in the cupola di Sant'Agnese in Agone; and frescoes by Raphael at the Chigi Chapel in Santa Maria del Popolo. He also frescoed several rooms of the Palaces Quirinale, Doria, Massimo, Lancillotti, Torlonia, Chigi, Del Drago; and also retouched the decorations of the cupola of the Basilica of St Peter's, and the facade of the Duomo of Orvieto. In Orvieto he also provided scenography for the theater, working alongside Cesare Fracassini. Working"
"figure imitates the costume from Caravaggio's ""Penitent Magdalene"" (Doria Pamphilj Gallery, Rome); the right figure reminds us of his Mary in ""Conversion of the Magdalene"" (Detroit Institute of Art). Andrew Graham-Dixon asserts that these figures were modelled by Fillide Melandroni, a frequent model in his works and about 22 years old at the time. Caravaggio's composition also seems to be related to Michelangelo's ""Pietà"" as St. Peters (especially in the figure of the Madonna), and his ""Florentine Pietà"" (Museo dell'Opera del Duomo, Florence), from which he takes the figure of Nicodemus. In the latter case, Caravaggio transports Michelangelo self-portrait to"
"Christ on the Mount of Olives (Caravaggio) Christ on the Mount of Olives (1604-1606) was a painting by Michelangelo Merisi da Caravaggio (Italian, 1571-1610), formerly in the Kaiser Friedrich Museum painting gallery, Berlin, but destroyed in 1945. The painting's authenticity has been disputed, but it is well attested in the collection of Marchese Vincenzo Giustiniani and his brother Cardinal Benedetto Giustiniani, its dimensions being virtually identical with those of a Caravaggio of the same subject listed in the Giustiniani inventory. In addition the model for St Peter (the reclining figure) appears identical with the two St Jeromes from Caravaggio's Roman"
"on this sculpture to amuse his mind and to keep his body healthy. After 8 years of working on it, Michelangelo would go on and attempt to destroy the work in a fit of frustration. This marked the end of Michelangelo's work on the sculptural group, which found itself in the hands of Francesco Bandini, who hired an apprentice sculptor, by the name of Tiberio Calcagni, to restore the work to its current composition. The left leg of Christ is missing. Since its inception, the sculpture has been plagued by ambiguities and never ending interpretations, with no straightforward answers available."
"is compared with a marble bust of Duke Cosimo I created by Bartolommeo Bandinelli in 1543–1545 and another bust of Duke Cosimo created by Benvenuto Cellini in 1545–1547. The sculpture was commissioned by the republican Donato Giannotti for Cardinal Niccolò Ridolfi. The face of the sculpture is asymmetrical, with the side turned away from the spectator showing more signs of emotion, including a flared nostril. Giorgio Vasari wrote that Michelangelo had modeled Brutus from the image cut into a gem. Later scholars did not find the sculpture to resemble any such extant gem, supposing instead that the sculpture may have"
"took four days to move the statue the half mile from Michelangelo's workshop into the Piazza della Signoria. Later that summer the sling and tree-stump support were gilded, and the figure was given a gilded loin-garland. In 1873, the statue of ""David"" was removed from the piazza, to protect it from damage, and displayed in the Accademia Gallery, Florence, where it attracted many visitors. A replica was placed in the Piazza della Signoria in 1910. In 1991, a mentally disturbed artist named Piero Cannata attacked the statue with a hammer he had concealed beneath his jacket; in the process of"
"He is said to have sculpted the horse and the lion for Bernini's ""Fountain of the Four Rivers"" in Piazza Navona. Lazzaro also sculpted the statue of ""Benignity"" for the tomb monument of Clement X in St. Peter's. The tomb was designed by Mattia de' Rossi (1684) and the other sculptors who worked on this project were Ercole Ferrata (who sculpted the pope) and Giuseppe Mazzuoli (who sculpted the statue of ""Clemency""). He also completed some of the saints in the roof-line of the external colonnades of Piazza San Pietro. Lazzaro Morelli Lazzaro Morelli (1619 – 1690) was an Italian"