Instruct: Given a question, retrieve documents that answer the question.
Query: Who was Michelangelo's teacher?
When Michelangelo took up the Sistine Chapel commission, he was working within a space that had already been extensively decorated by other artists. Around the walls the "Life of Christ" and "Life of Moses" were depicted by a range of artists including his teacher Ghirlandaio, Raphael's teacher Perugino and Botticelli. They were works of large scale and exactly the sort of lavish treatment to be expected in a Vatican commission, vying with each other in complexity of design, number of figures, elaboration of detail and skillful use of gold leaf. Above these works stood a row of painted Popes in brilliant brocades and gold tiaras. None of these splendours have any place in the work which Michelangelo created. Michelangelo, when asked by Pope Julius II to ornament the robes of the Apostles in the usual way, responded that they were very poor men.
The "colossus" (height: 5.05 m) was originally given to Michelangelo and meant to complement the "David" but later appropriated by the Medici family as a symbol of their renewed power after their return from exile in 1512, and again in 1530. Although descriptions of its unveiling in 1534 provided verbal and written criticisms of the marble, most were instead aimed at the Medici family for dissolving the Republic and were not aesthetic.
A few of the writers of these hypercritical verses were imprisoned by Alessandro de'Medici, further suggesting a political commentary. The two harshest critics were Giorgio Vasari and Benvenuto Cellini, both of whom were champions of Michelangelo and rivals of Bandinelli for Medici patronage. Vasari lamented the change of hands from Michelangelo to Bandinelli, and the change of design. Cellini referred to the emphatic musculature as "a sack full of melons", forgetting that Michelangelo had received similar deprecation previously by Leonardo da Vinci. Neither Vasari nor Cellini can be viewed as unbiased resources due to their rivalries. The patrons (Medici family) were quite satisfied and rewarded Bandinelli greatly for his efforts with land, money, and he was later placed in charge of all sculptural and architectural programs for the Medici under Cosimo I.
According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500.
He was born Pietro Geremia Celesia in Palermo in 1814, the son of Lancellotto Celesia, Marchese of Sant'Antonino, and Giuseppa Caruso Azzolini. As a teenager, he felt called to become a monk of the Monastery of San Martino della Scala in his native city, which belonged to the Cassinese Congregation of the Order of Saint Benedict. He was received as a candidate of the monastery in 1833 and, at admission into the novitiate, he was given the religious name of Michelangelo. He made his solemn profession on January 15, 1835, and was ordained to the priesthood on July 24, 1836.
In 1508 Pope Julius II succeeded in getting the sculptor Michelangelo to agree to continue the decorative scheme of the Sistine Chapel. The Sistine Chapel ceiling was constructed in such a way that there were twelve sloping pendentives supporting the vault that formed ideal surfaces on which to paint the Twelve Apostles. Michelangelo, who had yielded to the Pope's demands with little grace, soon devised an entirely different scheme, far more complex both in design and in iconography. The scale of the work, which he executed single handed except for manual assistance, was titanic and took nearly five years to complete.
The Galleria dell'Accademia has housed the original "David" by Michelangelo since 1873. The sculpture was allegedly brought to the Accademia for reasons of conservation, although other factors were involved in its move from its previous outdoor location on Piazza della Signoria. The original intention was to create a 'Michelangelo museum', with original sculptures and drawings, to celebrate the fourth centenary of the artist's birth. Today, the gallery's small collection of Michelangelo's work includes his four unfinished "Prisoners", intended for the tomb of Pope Julius II, and a statue of Saint Matthew, also unfinished. In 1939, these were joined by a "Pietà" discovered in the Barberini chapel in Palestrina, though experts now consider its attribution to Michelangelo to be dubious.
As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed "Mona Lisa", but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal "Holy Family", was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost "Leda and the Swan", from which he adapted the contrapposto pose of his own "Saint Catherine of Alexandria". He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.
He was born, apparently in Tuscany, perhaps in Lucca, from a Parmesan family of ancient Langobard origin, known as Anselmi di Cardano. He moved to Siena around 1500, where he is mentioned as painter for the first time in 1511. He was a pupil of Il Sodoma and Domenico Beccafumi.
The installation of the St. Matthew paintings in the Contarelli Chapel had an immediate impact among the younger artists in Rome, and Caravaggism became the cutting edge for every ambitious young painter. The first Caravaggisti included Orazio Gentileschi and Giovanni Baglione. Baglione's Caravaggio phase was short-lived; Caravaggio later accused him of plagiarism and the two were involved in a long feud. Baglione went on to write the first biography of Caravaggio. In the next generation of Caravaggisti there were Carlo Saraceni, Bartolomeo Manfredi and Orazio Borgianni. Gentileschi, despite being considerably older, was the only one of these artists to live much beyond 1620, and ended up as court painter to Charles I of England. His daughter Artemisia Gentileschi was also close to Caravaggio, and one of the most gifted of the movement. Yet in Rome and in Italy it was not Caravaggio, but the influence of his rival Annibale Carracci, blending elements from the High Renaissance and Lombard realism, which ultimately triumphed.
Michelangelo Florio was born in Tuscany. The precise city of his birth is unknown, though in his "Apology" he describes himself as a Florentine. Francis Yates however argued that his assertion could be simply a boast in order to acquire prestige, by associating his origins with a city of great cultural prestige, It is possible he may have been born in Lucca or Siena.
It is possible that the "David" was conceived as a political statue before Michelangelo began to work on it. Certainly David the giant-killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there. Donatello's bronze "David," made for the Medici family, perhaps 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city. By placing Michelangelo's statue in the same general location, the Florentine authorities ensured that "David" would be seen as a political parallel as well as an artistic response to that earlier work. These political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces.
This first of the famous "Stanze" or "Raphael Rooms" to be painted, now known as the "Stanza della Segnatura" after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing "The School of Athens", "The Parnassus" and the "Disputa". Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last Pope, the Medici Pope Leo X, with whom Raphael formed an even closer relationship, and who continued to commission him. Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.
Raphael, (1483–1520), Urbino, trained under Perugino in Perugia before moving to Florence, was for a time the chief architect for St. Peter’s, working in conjunction with Antonio Sangallo. He also designed a number of buildings, most of which were finished by others. His single most influential work is the Palazzo Pandolfini in Florence with its two stories of strongly articulated windows of a "tabernacle" type, each set around with ordered pilasters, cornice and alternate arched and triangular pediments.
By the end of 1508, Raphael had moved to Rome, where he lived for the rest of his life. He was invited by the new Pope Julius II, perhaps at the suggestion of his architect Donato Bramante, then engaged on St. Peter's Basilica, who came from just outside Urbino and was distantly related to Raphael. Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons, Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling.
In 1607 it was part of Cardinal Federico Borromeo’s collection, a provenance which raises the plausibility of a conscious reference to the Book of Amos. Borromeo, who was archbishop of Milan, was in Rome approximately 1597-1602 and a house guest of Del Monte in 1599. He had a special interest in the Northern European painters such as Paul Bril and Jan Brueghel the Elder, who were also in Rome at the time, (indeed, he took Breughel into his own household), and in the way they did landscapes and flowers in paintings as subjects in their own right, something not known at the time in Italian art. He would have seen the way Caravaggio did still life as incidental accessories in paintings such as "Boy Bitten by a Lizard", "Bacchus", in Del Monte's collection, and "The Lute Player" in the collection of Del Monte's friend Vincenzo Giustiniani. The scholarly Giustiniani wrote a treatise on painting years later, wherein, reflecting the hierarchical conventions of his day, he placed flowers "and other tiny things" only fifth on a twelve-scale register, but he said also that Caravaggio once said to him "that it used to take as much workmanship for him to do a good picture of flowers as it did to do one of human figures."
David is a masterpiece of Renaissance sculpture created in marble between 1501 and 1504 by the Italian artist Michelangelo. "David" is a marble statue of a standing male nude. The statue represents the Biblical hero David, a favoured subject in the art of Florence.
During the years following the capitulation of Florence, Michelangelo remained in contact with some of the former leaders of the Republic, men who championed the liberty of the city-state and opposed Medician tyranny. De Tolnay believes that one of these men, namely Donato Giannotti, inspired the bust of Brutus. "The Bust is important for understanding [Michelangelo] Buonarroti’s political views," De Tolnay states. “Michelangelo’s conception of Brutus is clearly expressed in this bust: It represents heroic scorn for those who would destroy liberty.” Contemporaries may have connected the sculpture with the assassination of Alessandro de' Medici, Duke of Florence, by Lorenzino de' Medici in 1537.
Johannes Wilde, another lifetime Michelangelo scholar, also sees the Brutus as a “glorification of liberty from tyranny.” Wilde suggests the sculpture remained unfinished.
"The Last Judgement" was painted by Michelangelo from 1535 to 1541, between two important historic events: the Sack of Rome by mercenary forces of the Holy Roman Empire in 1527, and the Council of Trent which commenced in 1545. The work was designed on a grand scale, and spans the entire wall behind the altar of the Sistine Chapel. The painting depicts the second coming of Christ on the Day of Judgment as described in the Revelation of John, Chapter 20. High on the wall is the heroic figure of Christ, with the saints clustered in groups around him. At the bottom left of the painting the dead are raised from their graves and ascend to be judged. To the right are those who are assigned to Hell and are dragged down by demons.
The Brutus is a marble bust of Brutus sculpted by Michelangelo around 1539–1540. It is now in the Bargello museum in Florence.
In the mid 1800s, small cracks were noticed on the left leg on "David" which can possibly be attributed to an uneven sinking of the ground under the massive statue.
The pose of Michelangelo's "David" is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath, and the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his feet, but no earlier Florentine artist had omitted the giant altogether. According to Helen Gardner and other scholars, David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat.
The Apollo, Apollo-David, David-Apollo, or Apollino is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence.
In the comics published by Image Comics, Michelangelo's interest in writing is expanded upon and he is established as a writer of fiction and poetry. During this series, Michelangelo develops a romantic relationship with Horridus, whom he credits as his muse in writing. But the relationship wouldn't last, (as the story may have begun after Rapture's death), she started staying with Officer Dragon and had developed an attraction to him; though Dragon didn't know it himself. Michelangelo would be heartbroken when Sara dumps him. An early issue has him selling his first poem to a poetry digest. As the comic continued, Michelangelo's career as a writer gradually expanded. In the final issue, he has published his first novel, a romance called "A Rose Among the Thorns". April mentions that the book was already going back for a second printing and that she'd heard that Oprah Winfrey loved it, which "practically guarantees that it will be a best-seller." Michelangelo is the only Turtle who did not end up disfigured in some way in this series; Leonardo lost his left hand and had it replaced by a steel cap with a retractable blade, Raphael was facially disfigured after being shot in the face, and Donatello was transformed into a cyborg after being shot and thrown out of a helicopter. Mikey asked Sara for her hand in marriage but was denied.
Michelangelo, with Leonardo da Vinci and Raphael, is one of the three giants of the Florentine High Renaissance. Although their names are often cited together, Michelangelo was younger than Leonardo by 23 years, and older than Raphael by eight. Because of his reclusive nature, he had little to do with either artist and outlived both of them by more than forty years. Michelangelo took few sculpture students. He employed Francesco Granacci, who was his fellow pupil at the Medici Academy, and became one of several assistants on the Sistine Chapel ceiling. Michelangelo appears to have used assistants mainly for the more manual tasks of preparing surfaces and grinding colours. Despite this, his works were to have a great influence on painters, sculptors and architects for many generations to come.
Michelangelo began playing the piano at the age of five. His first published music happened in High School for a PBS Documentary called Oysters in the Long Island Sound in 1992. Also in 1992 Michelangelo won the Connecticut Songwriting Competition in its first year of inception. In 1993 and 1994 Michelangelo went to the Berkshire Theatre Festival and wrote songs and score for the Children's Theater. Michelangelo attended New York University studying at the Tisch School of the Arts and began composing music for student films, winning Best Score at the First Run Film Festival in 1996 for the film Soldier Boy and 1997 for the film Spirit. As a composer Michelangelo wrote music for pop/rock bands featured on Satellite radio and Internet radio as well as numerous television commercials ranging from Animal Planet, Acuvue, Mercedes Benz, Tervis Tumbler, Garnier Fructis and Street King (drink). Michelangelo also wrote extensive music for CONCACAF including their Champion's League theme and Gold Cup theme as well as stingers and promos.Albums
Michelangelo (6 March 1475 – 18 February 1564) had a complicated relationship with the Medici family, who were for most of his lifetime the effective rulers of his home city of Florence. The Medici rose to prominence as Florence's preeminent bankers, some of which was used for patronage of the arts. Michelangelo's first contact with the Medici family began early as a talented teenage apprentice of the Florentine painter, Domenico Ghirlandaio. Following his initial work for Lorenzo de' Medici, Michelangelo's interactions with the family continued for decades including the Medici papacies of Pope Leo X and Pope Clement VII.