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The Pietà (Italian: [maˈdɔnna della pjeˈta]; "[Our Lady of] Pity"; 1498–1499) is a Carrara marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Virgin Mary by Michelangelo Buonarroti, in Saint Peter's Basilica, Vatican City, for which it was made.
Michelangelo's Pieta sculpture is also unique in the fact that it is the only one of his works that he ever signed. Upon hearing that visitors thought it had been sculpted by Cristoforo Solari , a competitor, he carved his signature into Mary's sash as "MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T]": "Michelangelo Buonarroti the ...
The Pietà or Sexta Angustia (1616 - 1619) is a work of Baroque sculpture by Gregorio Fernández, housed in the National Museum of Sculpture in Valladolid, Spain. The statue was commissioned by the Illustrious Penitential Brotherhood of Our Lady of Anguish. It is one of the best known of the five sculptures of the same theme by the artist.
This final sculpture revisited the theme of the Virgin Mary mourning over the emaciated body of the dead Christ, which he had first explored in his Pietà of 1499. Like his late series of drawings of the Crucifixion and the sculpture of the Deposition of Christ intended for his own tomb, it was produced at a time when Michelangelo's sense of ...
Laszlo Toth (Hungarian: Tóth László; born 1 July 1938) is a Hungarian-born Australian geologist.He achieved worldwide notoriety when he vandalised Michelangelo's Pietà statue on 21 May 1972.
The Palestrina Pietà is a marble sculpture of the Italian Renaissance, dating from c. 1555 and now in the Galleria dell'Accademia, Florence.It was formerly attributed to Michelangelo, but now it is mostly considered to have been completed by someone else, such as Niccolò Menghini [1] or Gian Lorenzo Bernini. [2]
Pietà [2] (German: Vesperbild) a small painted wood sculpture dated to c. 1375–1400, now in the collection of the Cloisters, New York. Very little is known of it, except that is probably of southern German origin. [3] The statuette emphasises the suffering of both the Virgin and Jesus Christ. [3]
The theme of the Pietà, so dear to the sculptor Michelangelo, is addressed in a highly emotional composition, as in the Crucifixion for Colonna. The dead Jesus is cradled between the grieving Mary's legs, who raises her arms to heaven as two angels also raise Christ's arms at right angles.