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MICHELANGELO

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					                   Michelangelo di
                 Lodovico Buonarroti
                       Simoni
                     (1475-1564)




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            Birth name: Michelangelo di Lodovico Buonarroti
              Simoni
            Born March 6, 1475 near Arezzo, in Caprese,
              Tuscany
            Died February 18, 1564 (aged 88)Rome
            Nationality Italian
            Field sculpture, painting, architecture, and poetry
            Training Apprentice to Domenico Ghirlandaio
            Movement High Renaissance
            Works David, The Creation of Adam, Pietà


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            •    Michelangelo di Lodovico Buonarroti Simoni(March 6, 1475 – February
                 18, 1564), commonly known as Michelangelo, was an Italian Renaissance
                 painter, sculptor, architect, poet, and engineer. Despite making few forays
                 beyond the arts, his versatility in the disciplines he took up was of such a
                 high order that he is often considered a contender for the title of the
                 archetypal Renaissance man, along with his rival and fellow Italian
                 Leonardo da Vinci.
            •    He is the best documented artist of the 16th century. Two of his best-
                 known works, the Pietà and David, were sculpted before he turned thirty.
            •    Michelangelo also created two of the most influential works in fresco in
                 the history of Western art: the scenes from Genesis on the ceiling and The
                 Last Judgment on the altar wall of the Sistine Chapel in Rome.
            •     At 74 he succeeded Antonio da Sangallo the Younger as the architect of
                 Saint Peter's Basilica. Michelangelo transformed the plan, the western
                 end being finished to Michelangelo's design, the dome being completed
                 after his deathwith some modification.




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            Michelangelo’s vision of Art
            • Michelangelo, who was often arrogant with others and constantly
               dissatisfied with himself, saw art as originating from inner inspiration and
               from culture.
            • In contradiction to the ideas of his rival, Leonardo da Vinci, Michelangelo
               saw nature as an enemy that had to be overcome. The figures that he
               created are forceful and dynamic; each in its own space apart from the
               outside world
            • He was by nature a solitary and melancholy person; he had a reputation
               for being bizzarre because he "withdrew himself from the company of
               men.“
            • Fundamental to Michelangelo's art is his love of male beauty, which
               attracted him both aesthetically and emotionally. In part, this was an
               expression of the Renaissance idealization of masculinity.




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                                             MICHELANGELO’S
                                            THE CREATION OF
                                                  ADAM




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              The Creation of Adam is a fresco painted by Michelangelo circa 1511 that
              appears on the ceilingof the Sistine Chapel. It illustrates the Biblical storyfrom
              the Book of Genesis in which God the Fatherbreathes life into Adam, the first
              man.Chronologically the fourth in the series of panelsdepicting episodes from
              Genesis on the Sistineceiling, it was among the last to be completed. It isone of
              the most famous images in the world.



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                                                         COMPOSITION
            •    The main span of the Sistine Ceiling contains nine separate images,
                 which arrange themselves into three sets of three: the Story of Noah, the
                 Story of Adam and Eve, and the Story of Creation--all from the Book of
                 Genesis.
                                                                                    • God is depicted as an elderly
                                                                                    bearded man wrapped in a swirling
                                                                                    cloak while Adam, on the lower
                                                                                    left, is completely naked.
                                                                                    •God's right arm is outstretched to
                                                                                    impart the spark of life from his
                                                                                    own finger into that of Adam,
                                                                                    whose left arm is extended in a
                                                                                    pose mirroring God's, a reminder
                                                                                    that man is created in the image
                                                                                    and likeness of God (Gen 1:26).




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                                                                                     • His left arm is wrapped around a
                                                                                       female       figure,      normally
                                                                                       interpreted as Eve, who is not yet
                                                                                       created and, figuratively, waits
                                                                                       inheaven to be given an earthly
                                                                                       form.
                                                                                     • Adam's finger and God's finger
                                                                                       are separated by a slight distance.


             •Based on classical Greek and Roman prototypes, Adam is the ideal human
             male with his rippling muscles and elegant contours.
             •The pink backdrop behind God is in the shape of a brain. Michelangelo may
             have used this symbol to show God's plan of creation which had not yet been
             revealed to the first man.
             •The woman in the crook of God's arm is often depicted as Sophia by the
             Gnostics. Christian tradition places Eve under God's arm as the next creature
             that He intends to bring into existence. The green ribbon that flows from the
             woman represents the human life that will be borne through the
             woman.

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            •Based on classical Greek and Roman prototypes, Adam is the ideal human
            male with his rippling muscles and elegant contours.
            •The pink backdrop behind God is in the shape of a brain. Michelangelo may
            have used this symbol to show God's plan of creation which had not yet been
            revealed to the first man.
            •The woman in the crook of God's arm is often depicted as Sophia by the
            Gnostics. Christian tradition places Eve under God's arm as the next creature
            that He intends to bring into existence. The green ribbon that flows from the
            woman represents the human life that will be borne through the woman.
            •The two figures behind God's left and right shoulders are an allusion to the
            Trinitarian God. Both faces are aligned with that of the Father.
            •The similar poses of God and Adam—the positions of God's right leg and
            Adam's left leg are, for instance, nearly identical—reflect the fact that,
            according to Genesis 1:27, God created man in his own image.
            •At the same time, God, who is airborne and appears against ovoid drapery, is
            contrasted with earthbound Adam, lying on a stable triangle of barren ground.
            • Adam's languid posture appears to be one of near mindless repose, whereas
            the figure of the Creator fairly bristles with energy.




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                                                                                               ANATOMICAL
                                                                                               THEORIES
                                                                                               •The background figures
                                                                                               and shapes portrayed
                                                                                               behind the figure of God
                                                                                               appeared to be an
                                                                                               anatomically       accurate
                                                                                               picture of the human
                                                                                               brain, including the frontal
                                                                                               lobe, optic chiasm, brain
                                                                                               stem, pituitary gland, and
                                                                                               the major sulci of the
                                                                                               cerebrum.

            •Alternatively, it has been observed that the red cloth around God has the
            shape of a human uterus (one art historian has called it a "uterine mantle"),
            and that the scarf hanging out, coloured green, could be a newly cut umbilical
            cord.




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                                                                      ADAM’S FINGER AND GOD’S FINGER
                                                                      SEPARATED BY A CERTAIN DISTANCE
                                                                      •The focal point of the episode of the
                                                                      Creation of man is the contact between the
                                                                      fingers of the Creator and those of Adam,
                                                                      through which the breath of life is
                                                                      transmitted.


             • What is usually interpreted from this particular scene is that Adam is not
             being physically created, but is in the process of receiving something
             momentous, yet subtle, from the hand of God.

             • Adam is physically alive, but here God is about to endow Adam with what
             makes human beings truly alive: the spirit, the soul, the intellect. All of man’s
             potential, physical and spiritual, is contained in this one timeless moment.




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         SYMBOLISM
         •Michelangelo habitually made liberal use of symbolism in both painting and
         sculpture, and perhaps he was also fond of visual puzzles and humour.

         •There is some speculation that much of the symbolism attributed to
         Michelangelo's works is due not only to the cultural and religious climate of
         Florence in the 1480s and early 1500s, but also the philosophy of
         Neoplatonism .

         •His writings and poetry of that time reflect his belief in the divine origin of
         art, and of physical beauty, and that the intellect is itself divine.

         •The outline of the human brain in the Creation of Adam may then be
         interpreted as the artist's pictorial declaration of his belief equating the divine
         gift of intellect with that of the soul.




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                                    MICHELANGELO’S CONTRIBUTION TO ARCHITECTURE



                   Michelangelo Buonarroti was principally a sculptor and always
                   claimed that architecture was not his profession; but, with a
                   sculptor's vision, he saw buildings as dynamic organisms -
                   metaphors of the human body - and he designed some of the
                   most impressive architecture in all history. Among his best-
                   known buildings are the Medici Chapel and the Laurentian
                   Library in Florence; the Capitoline Hill, St Peter's and the Porta
                   Pia in Rome.




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