MICHELANGELO INFLUENCE OF ANTIQUITY Battle of Cascina Battle

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MICHELANGELO

• INFLUENCE OF ANTIQUITY
• Battle of Cascina
• Battle of Lapiths Centaurs
• Bacchus
• Pieta
• David
• Moses
• Slaves

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Early influences on MichelangeloHighlight on
your timeline. This is important for context.

• As a boy sent to study grammar with the humanist
  Francesco da Urbino in Florence
• Age 13 apprenticed to the painter Ghirlandaio
• Age 15 chosen to study at the school of the
  garden of Lorenzo de Medici (ruler of Florence).
  Here he studied copied classical sculptures
  from his collection. (1489)
• Age 16-18 also attended the Neo-Platonic
  academy, knew Ficino, Mirandola and Poliziano
  (1490-1492).
• In Florence he also studied the art of Giotto
  Masaccio, making copies of their works.
• 1492 Medici overthrown thanks to Savonarola.
  Michelangelo flees to Venice, returns in 1495 to
  fall under Savonarolas influence.
• 1496 Michelangelo goes to Rome and is
  commissioned to sculpt the Pieta. Here he
  studies more antique sculpture.
• He returns to Florence a famous sculptor and
  produces David.

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Antique Influences on Michelangelos Art
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The Garden of San MarcoThe Medici Art School

• Lorenzo the Magnificent asked Ghirlandaio to
  send his 2 best students and he sent
  Michelangelo.
• Here Michelangelo studied classical sculpture and
  drawing - basing their studies on the Medici's
  own fantastic collection of ancient original
  Greek and Roman art.
• Michelangelo soon became Lorenzo's most prized
  pupil.

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Ancient Roman architecture

• Many artists and architects came to Rome to study
  the ruins of Classical buildings e.g. Colosseum,
  Arch of Constantine, Pantheon.
• Michelangelo was first in Rome in 1496, and
  worked there for many years as he painted the
  Sistine Chapel. (c.1503-1542)

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Julius IIs Sculpture CollectionCourt of the
Belvedere, Rome

• Julius II had a fine collection of ancient
  sculpture
• It was kept in the court of the Belvedere, next
  to the Vatican.
• It became a place of pilgrimage for artists.

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Juliuss Classical Sculpture collection

• The Belvedere Torso, the Laocoon Apollo
  Belvedere.

What qualities do you think Renaissance artists
admired in these works?
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Influence of Classical Sculpture

• APOLLO BELVEDEREBELVEDERE TORSOTHE LAOCOON

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The influence of the Apollo Belvedere

• Give 2-3 ways Michelangelos sculpture David
  shows the influence of the Apollo Belvedere

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Influence of Belvedere Torso on Michelangelos
figures in Sistine Ceiling
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The Influence of the Laocoon

• Classical Greek sculpture (c. 25BC) unearthed in
  1506
• Who was Laocoön ?
• a Trojan priest of Poseidon (Neptune) who broke
  the rules
• by marrying and having sons OR by making love
  with wife in presence of cult statue
• He warned the Trojans in vain against accepting
  the Trojan horse from the Greeks
• Here he and his two sons are shown being killed
  by two serpents sent to Troy
• Michelangelo admired the expressive movement of
  the struggling bodies, so similar to his own
  sense of a spiritual struggle bound up with a
  physical one.

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Copy of Michelangelos drawing for mural The
Battle of Cascina 1504

• Note down ways this shows the influence of the
  Laocoon.

This figure corresponds to a back view of the
son on the Right Hand side of the Laocoon
Note the torso Is similar to The elder sons
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Battle of Cascina - context

• Civic Patronage The painting was commissioned as
  a fresco for the Palazzo Vecchio (city council)
  in Florence to glorify the citys victory in
  battle.
• Other antique influences frieze like
  composition resembles figures on Roman
  sarcophagi monumental and muscular forms.
• Competition The opposite wall was to be
  decorated by Leonardo with the Battle of
  Anghiari.
• Background The two battles were notable medieval
  victories. The Battle of Cascina was fought on
  1364 between the troops of Florence and Pisa
  resulting in victory of the Florence.
  Michelangelo shows the troops bathing in the
  river when called to battle.

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Comparison Michelangelos Battle of Cascina v.
Leonardos Battle of Anghiari
Neither work was ever completed. Both of these
are drawings by other artists (Sangallo and
Rubens), copying the original cartoons.
Which work shows a greater interest in
naturalism?
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Sons from Laocoon re-used for Michelangelos
Slaves begun in 1513
ABOVE Laocoon RIGHT Michelangelos Rebellious
Slave FAR RIGHT The Dying Slave Note twisting
contrapposto of figures. Which son was the model
for each slave?
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Battle of the Lapiths and Centaurs

• 1492
• Relief Sculpture
• What are centaurs? Can you see them?
• What classical influences are evident?

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Battle of Lapiths and Centaurs

• What was the story behind this work?
• Again, implied rape. ?
• A battle erupted after centaurs (half human, half
  horse) drunkenly and belligerently disrupted the
  wedding of the Lapiths king Pirithous,
  attempting to carry off the bride and other
  women.

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2. Classical Subject Matter from Pagan
Mythology
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Bacchus (1496-7)

• Michelangelos first life-sized free-standing
  nude sculpture
• Patron banker Jacopo Galli
• Subject Bacchus Satyr
• Iconography Hair style? Goblet?
• Style analyse figure / pose

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Bacchus

• Bacchus is depicted with rolling eyes, his
  staggering body almost teetering off the rocky
  outcrop on which he stands. Sitting behind him is
  a faun, who eats the bunch of grapes slipping out
  of his left hand. The figure, with its swollen
  breast and abdomen, suggested to Giorgio Vasari
  "both the slenderness of a young man and the
  fleshiness and roundness of a woman", and its
  androgynous quality has often been noted
  (although the testicles are swollen as well).
• Michelangelo gave the sculpture a high centre of
  gravity and reeling pose which, along with the
  symbolic wreath of vines, gives the impression of
  drink having 'gone to his head'.
• Bacchus holds in his right hand a goblet of wine
  and in his left a tigerskin, an animal associated
  with the god "for its love of the grape. -
  Wikipedia entry on Michelangelos Bacchus

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Idealisation

• Greek artists developed the anatomically correct
  human figure over a period of 150 years between
  650-500 BC. During the high point of the
  Classical period they created a form more
  beautiful in every aspect of the norm the ideal.
• IDEALISATION of the human form was used to
  portray the God or Hero, who was perfect not only
  in anatomical form, but also in a physical and
  intellectual strength.
• Romans introduced REALISM in their depictions of
  the human form, but used the Greek style to
  idealise important people like Emperors.
• In the Renaissance, artists once again became
  interested in going beyond reality in their
  depictions to express MORAL and SPIRITUAL
  PERFECTION.

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The Pieta1498-1500
Podcast http//smarthistory.org/michelangelo-pie
ta.html

• Subject Pieta (Pity). Pietas show Virgin Mary
  cradling the dead Christ.
• The Pieta was more common as a subject in
  French/German art than Italian art.
• How do the Northern artists Pieta (Right) differ
  from Michelangelos Pieta?

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Context Carrara Marble quarries

• Carrara is a region in Tuscany, famous for its
  marble that has been used for sculpture and
  building since the time of Ancient Rome.
• As well as Michelangelos sculptures this marble
  was used to construct the pantheon and Trajans
  column.

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Context

• The subject was probably chosen by his patron,
  the French Cardinal for the Chapel of the French
  Kings in St Peters Basilica.
• Possible subject is Maria Ecclesia (Mary as the
  Church, the nurturer and protector)
• Carved when Michelangelo was 23 out of a single
  block of white Carrara marble. It is the work
  that made him famous
• The only work signed by Michelangelo
  Michelangelus Buonarotis Florentinus faciebat

It is now in the Right hand chapel at St Peters
behind thick perspex as in 1972 a madman attacked
it with a hammer
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Analyse the STYLE of the Pieta
Deviant Art version

• Colour effect of the polished, pristine white
  marble?
• Figure?
• Pose? Expressions?
• Composition?
• Neo-Platonic influence

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• COMPOSITION
• What familiar High Renaissance shape has been
  used in the composition to create a sense of
  balance and harmony?
• Artists depicting the Pieta faced the problem of
  how to join the upright figure of Mary with the
  dead Christ.
• How has Michelangelo solved this problem?
• We cannot see Christs face why do you think
  this is?

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The Virgin

• STYLE
• Facial Features are idealised her youthful
  innocence suggests her virginity. She is not
  shown as a mother of a 33 year old! (also
  evidence of a Neo-Platonism, which would appeal
  to sophisticated Papal audience)
• She is also the ideal Renaissance woman, as she
  shows great dignity, serenity, obedience to God.
• Pose is like that of the Maesta (Virgin with
  child). This helps the viewer reflect on the
  beginning/end of Christs life.
• Composition pyramidal. The nude Christ
  completely framed by outline of flowing robe of
  Mary. Diagonal line created byplacing Marys
  right foot higher than her left foot.
• Proportions manipulated, rather than
  naturalistic. Enlargement of thighs (like Ms
  later mannerist works) made to support body of
  adult Christ

ICONOGRAPHY Her size / seated pose shows her as
the Queen of heaven, enthroned in majesty even
though it is a natural rock setting rather than
traditional throne Her bowed head shows her
modesty and calm acceptance of Gods will. Her
lowered eyes suggest her sorrow Gesture of hand
includes viewer, shares Christ with the world
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The face of Christ

• Christs face placed out of sight we only see
  his beautiful, lifeless body seemingly asleep
  why do you think this was done? Consider what
  follows his crucifixion
• Juxtaposition of Marys youthfulness and Christs
  death, sorrow and beauty
• The scene has a strong sense of calm.
• While expressive of Marys sorrow, Christs
  sacrifice is made rational for us.

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The Idealised Youthful Male

• DAVID

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David (1501-04)

• CONTEXT
• Commissioned by Operai del Duomo Office of
  Works of the Cathedral (mainly members of the
  Wool Guild) to stand on buttress 40 ft up on
  Duomo but it was never placed there.
• Stood in Piazza, outside the Palazzo della
  Signoria (Council hall)
• Subject Biblical David (who fought Goliath)
• David Symbol of Florence. Victory of
  Intelligent Action over Brute Force.
• It was not usual to present David nude. Suggests
  classical hero Hercules (also a Florentine
  symbol on the state seal since 13th C)
• Medium Carved from a single piece of white
  Carrara marble. His skill shown as he had to
  work from a sculpture already partially carved in
  the previous century.
• In 1991, a deranged man attacked the statue with
  a hammer he had concealed beneath his jacket
  damaging the toes

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Location David outside the Palazzo Vecchio.
Intended location, Duomo di Santa Maria del
Fiore.
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Palazzo della Signoria Piazza della Signoria,
Florence
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Compare with Donatello Verrocchios versions of
David

• How old do these Davids appear?
• Comment on their poses and facial expressions.
• What other elements have been included that
  provide clues for the subject?
• What effect does the use of bronze have?

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Style

• STYLE
• Facial expression
• Figure (form)
• Pose
• Contrapposto
• Medium
• Gesture of hands
• How does Ms version differ from those before
  him?
• INFLUENCE OF ANTIQUITY
• Mood Calm repose. Shows contemplation before
  action (combining la vita contemplativa with
  la vita attiva)
• David resembles Hercules mature muscular body,
  tree trunk Hercules at Crossroads of Virtue and
  Vice. Virtue rocky landscape. Vice lush,
  flowering landscape.

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Iconography

• Paoletti Radke note the distinct lack of
  obvious iconography that make him both realistic
  understandable as an ordinary man and idealised
  as a hero.
• However, there is some subtle symbolism, e.g.
• David looks to the left
• Contracted brow and fierce stare
• The Sling / concealed rock
• The tree trunk

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Further antique influences
This low angle shot gives a sense of how the work
was designed to be seen
Heroic Scale 3x life size. Like another
Colossus. The Colossus of Rhodes was one of the
wonders of the Ancient World.
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The Idealised Mature Male

• MOSES

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Moses c.1515

• Subject Who was Moses?
• Style
• Pose
• Figure type
• attributes
• Clothing
• How does Moses compare to David?

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Who was Moses?

• Moses is a key figure from the Old Testament of
  the Bible
• He leaves the Israelites (who he has just
  delivered from slavery in Egypt) to go to the top
  of Mt. Sinai where God reveals the Ten
  Commandments to him, written on 2 stone tablets.
• When he returns he finds that the Israelites have
  constructed a golden calf to worship and make
  sacrifices to.
• One of the 10 commandments is Thou shalt not
  make any graven images so when Moses sees the
  Israelites worshipping this idol, and betraying
  the one and only God who has, after all, just
  delivered them from slavery, he throws down the
  tablets and breaks them in anger.

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CU on Moses

• Describe his facial expression / gaze.
• What do they suggest about Moses as a Biblical
  leader?
• Whats up with the horns?
• (A mistranslation of the Hebrew word for
  shining, thats what.)

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Context

• Ms sculpture of David spread his fame far and
  wide.
• As a result Pope Julius II commissioned him to
  sculpt his tomb. Originally M planned a 3 level
  extravaganza with over 20 figures. Moses was to
  be on middle level.
• Like David, Moses was carved with optical
  corrections in mind explains awkward bulky
  drapery etc.
• A scaled down version was completed after
  Juliuss death c. 1513-14.
• LOCATION Moses is in the church of S. Pietro in
  Vincoli (St Peter in Chains), Rome.

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Style iconography

• Figure / scale imposing monumental with
  enormous muscular arms. Nearly 8 ft high sitting
  down!
• Expression is fierce and angry. Displays
  Terribilita (awe-inspiring power)
• Attributes Under his arms he carries the
  tablets of the law the stones inscribed with
  the Ten Commandments that he has just received
  from God on Mt. Sinai.
• Pose Perhaps about to rise in anger after
  seeing the Israelites worshiping the golden calf.
  His left leg is pulled back to the side of his
  chair as though he is about to rise
• Mood pent up energy. Contemplation before
  action.
• A Dynamic figure in contrapposto Leg and hips
  face left. Torso pulled in opposite direction,
  head to the left, and then pulls his beard to the
  right.

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Classical Influence

• ALSO SEEN IN MICHELANGELOS PAINTINGS

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The Birth of Adam (from the Sistine Ceiling)
How do these two figures show the influence of
antiquity?
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Finally, Antique Influence is seen in the
Neo-Platonist elements throughout Michelangelos
art.
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Michelangelos artistic philosophy was
Neo-Platonist

• The artist, for Michelangelo, resembled God.
• Just as God implanted Beauty in the physical
  world, the artist attempts to create the concetto
  (idea) in matter.
• The ability to perceive beauty in a block of raw
  marble and bring forth a pre-existent form was a
  gift from God, an intelleto (a special talent).
• Beauty in the world "awakens in the soul an inner
  image", and this image is superior to anything in
  the world, since it is closer to ideal beauty
• - D. Vess , The Influence of Neo-Platonism on
  Michelangelo.

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How is Neo-Platonism seen in the works of
Michelangelo?

• Idealisation of forms to express nobility,
  wisdom, innocence etc rather than a realistic
  depiction of a person. E.g.
• Deliberately breaking the rules of perspective /
  proportion to portray a deeper truth. E.g.
• Shows the struggle of the soul against the body
  through contra-pposto and twisting forms, e.g.
• Use of the nude not as a pagan symbol but as a
  sign of divine beauty, as human beauty reflects
  Gods beauty. E.g.

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Summary Influence of Antiquity

• In your book make a chart or mind-map.
• List down all the works by Michelangelo and
  Raphael that show
• Classical architecture
• Classical figures or figure types (male, female,
  young, old)
• Classical subject matter (history or mythology)
• Neo-Platonic ideas
• Name specific works from classical period that
  were of influence.
• Give a few details for each work to remind you of
  the key features.