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Details Notes The Torment of Saint Anthony c. 1487 – 1488 [9] Oil and tempera on panel 47 cm × 35 cm (18 + 1 ⁄ 2 in × 13 + 3 ⁄ 4 in) Kimbell Art Museum, purchased from Sotheby's auction, Catalogue of Old Masters sale (Lot No. 69), 9 July 2008 by Adam Williams Fine Art, New York, as "Workshop of Domenico Ghirlandaio". Subsequently ...
Michelangelo was the first Western artist whose biography was published while he was alive. [3] Three biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three". [7]
(English: "Michelangelo Buonarroti, the Florentine made this") The signature echoes one used by the ancient Greek artists Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands. [12] [13]
In his early career, Michelangelo had several prominent patrons who commissioned him for his work. The patron for Bacchus was the high-ranking Cardinal Raffaele Riario, who had previously bought Cupid (also known as Sleeping Cupid), a work made by Michelangelo but passed off as an authentic ancient sculpture. Cardinal Riario later discovered ...
Michelangelo, nonetheless, is one of the artists who gave rise to the notion of “late style”: the idea that the artist’s vision gets truer and more personal the older they get.
Michelangelo concentrated the attention on the depiction of pain and suffering. The faces of the people present are clearly distressed. Pope Paul III commissioned this fresco by Michelangelo in 1541 and unveiled it in his Cappella Paolina. Restoration of the fresco completed in 2009 revealed an image believed to be a self-portrait of ...
The unfinished nature of the work reveals Michelangelo's painting technique, completing areas in turn in the manner of a fresco or tempera work, rather than sketching out the whole work and adding details, as for example Raphael or Leonardo would have done. It also shows areas of paint that Michelangelo scratched away, for example the rocks. [5]
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 ...