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Macchiaioli at the Caffè Michelangelo c. 1856. Caffè Michelangiolo was a historic café in Florence, located in Via Larga (now renamed Via Cavour). [1] During the nineteenth century Wars of Italian Independence, it became a major meeting place for Tuscan writers and artists, and for patriots and political exiles from other Italian states.
Importuno di Michelangelo: c. 1504 Palazzo Vecchio, Florence Pietraforte Rothschild Bronzes [6] 1506–1508 Fitzwilliam Museum: Bronze Male torso I (in Italian) c. 1513: Casa Buonarroti, Florence Terracotta height 23 cm Male torso II (in Italian) c. 1513: Casa Buonarroti, Florence Terracotta height 22,5 cm Naked woman scale model (in Italian)
The Frescobaldi family began producing Tuscan wine in 1308 and soon developed a notable client base. In exchange for paintings, the Frescobaldis traded their wine with the Italian Renaissance painter Michelangelo. [9]
At the time of Michelangelo's birth, his father was the town's judicial administrator and podestà (local administrator) of Chiusi della Verna. Michelangelo's mother was Francesca di Neri del Miniato di Siena. [12] The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo ...
The Florentine Prigioni (Young Slave, Bearded Slave, Atlas Slave and the Awakening Slave) were probably carved instead in the second half of the 1520s, while Michelangelo was employed at San Lorenzo in Florence (but historians suggest dates between 1519 and 1534). It is known that they were in the artist's warehouse on the via Mozza in 1544 ...
Tommaso dei Cavalieri (c. 1509 —1587) was an Italian nobleman, who was the object of the greatest expression of Michelangelo's love. [3] [4] Michelangelo was 57 years old when he met Cavalieri in 1532.
Rachel is a sculpture by Michelangelo of the Old Testament figure Rachel. Like Leah , it was part of the final, 1542–1545 design for the tomb of Pope Julius II in San Pietro in Vincoli , on which it still remains.
Michelangelo's two frescoes in the Cappella Paolina, The Conversion of Saul and The Crucifixion of St Peter were painted from 1542 to 1549, the height of his fame, but were widely viewed as disappointments and even failures by their contemporary audience. They did not conform to the compositional conventions of the time and the subject-matter ...