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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.
Vittoria Colonna, drawing by Michelangelo. Colonna was approximately 50 and Michelangelo 65 at the time of the drawing. In 1532, before he died, Vittoria Colonna's cousin Cardinal Pompeo Colonna dedicated to her his Apologia mulierum (Women's Apologia), a treatise arguing that women should share in public offices and magistracies. [14]
A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to 1529. The city fell in 1530, and the Medici were restored to power, [53] with the young Alessandro Medici as the first Duke of Florence. Pope Clement, a Medici, sentenced Michelangelo to death.
When Michelangelo was only fourteen, his father persuaded Ghirlandaio to pay his apprentice as an artist, which was highly unusual at the time. [3] When in 1489 Lorenzo de' Medici ("Lorenzo il Magnifico ), de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci . [ 3 ]
(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]
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Basket of Fruit, c. 1595–1596, oil on canvas, Pinacoteca Ambrosiana, Milan. Caravaggio (Michelangelo Merisi or Amerighi) was born in Milan, where his father, Fermo (Fermo Merixio), was a household administrator and architect-decorator to the marquess of Caravaggio, a town 35 km (22 mi) to the east of Milan and south of Bergamo. [7]
Many aspects of Michelangelo's composition reflect the well-established traditional Western depiction, but with a fresh and original approach. [18] Most traditional versions have a figure of Christ in Majesty in about the same position as Michelangelo's, and even larger than his, with a greater disproportion in scale to the other figures. As ...