Michelangelo's Rams

Michelangelo's study of a reclining male nude was a sketch done in preparation for the painting on the Sistine Chapel's ceiling by Michelangelo. The drawing was made first and then red chalk was applied over the initial sketch. Some parts were sketched and researched until the artist felt they were right.

Michelangelo painted a Holy Family on a round shape panel for the rich Florentine merchant Doni in approximately 1506. This painting is the only panel unanimously attributed to Michelangelo and it is best known as “Doni Tondo”. The traditional Florentine generally celebrated the birth of the child by using round panels. It was painted after the sculpture of “David”. It clearly reflects the experience of Michelangelo as a sculptor in the colors which shaped the volumes. The figures of this painting are almost like sculptures with clear outlines of the bodies. The use of the colors in this painting is perfectly coherent with the bright colors of the Sistine ceiling.

The paintings of Michelangelo had figures that were nude and caused an uproar. The Bible states that Adam and Eve were naked until they knew sin, then they were ashamed. The nakedness of the bodies could have been a scene of a time before sin. It helped to open the minds of some of the church members. To show them that the Bible should be the authority to which they live by and not the church. Michelangelo's painting went against what the church wanted, however it still stayed within the realm of the Bible. By doing this, it showed how the church would try to overstep its boundaries, while trying to place itself above the Bible.

“Studies for the Libyan Sibyl” (1510–11) by Michelangelo Buonarroti is the study of male anatomy and is a characteristic example of Michelangelo 's late draughtsmanship, and a preparatory sketch for one of the female seers frescoed Libyan figure Sibyl, painted on the Sistine Chapel Ceiling (1508-1512) Rome, Vaticana Palace. Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome) was a painter, sculptor, architect, poet, engineer as well as a compulsive drawer, of the High Italian Renaissance era, who exerted an unparalleled influence on the development of Western art. Michelangelo was once quoted saying “Design, which by another name is called drawing is the font and body of painting and sculpture and architecture and every other kind of painting and the root of all sciences” (Michelangelo And The Mastery Of Drawing).

An excellent example of the Madonna/whore complex in Renaissance art is Carlo da Camerino’s altarpiece, The Madonna of Humility with the Temptation of Eve. In the altarpiece, the Mary sits with Christ and is depicted as humble and virtuous, an idealized woman to demonstrate the role of women in the Church. Below Mary lies Eve, largely nude, sexualized, and intertwined with a serpent. Fur is wrapped around her hips, a symbol of lust. She displays the characteristics of dangerous femininity that was disparaged by the church.

Catholicism and the story of Christ are key components of the Italian Renaissance. Many of the most popular works of art from this area employ some sort of biblical theme. Raphael’s “Sistine Madonna” is no exception to this trend.

spare gap in the Vatican’s representation of the bible requires deepening our appreciation of the Sistine Chapel. Indeed, one could think that there is no big difference between these two masterpieces since Michelangelo also depicts the Old Testament: nevertheless, it is by looking at the choice of scenes and stories represented in both stories that the differences emerge. In Raphael’s Bible, the artist voluntary chose to avoid the violent and degrading scenes of the Old Testament: the drunkenness of Noah (see fig. 10) the mockery of his own son, his daughters sleeping with him, that were on the other hand

The most iconic part of the painting is the separation of Adam and God. It is very clear that Michelangelo was showing the division between God and how he helps be a lifelong guide, but no longer is in complete control of destiny. God and the idea of Heaven still play a very important role in both early modern and current times, but there is a very fine line dividing the two. It is truly up to the individual to chose their own path in life, only looking to God for reassurance; one must be sovereign in their life. One must rely on their own mind to make these decisions. This is why it appears in Michelangelo’s painting that God is inside something that resembles a brain. The age of discovery focused heavily on intellectual gain and evolution; this was also when scientists finally discovered what a brain looked like. With the new ethics that come with Calvinism and unveiling the brain for the first time, The Creation of Adam perfectly represents the principles of early modern times and many ideas that are still practiced in today’s

Fabled artist Michelangelo’s “Creation of Adam”, sleeping upon the ceiling of the Sistine Chapel in Vatican City, is one of the most captivating pieces of art the world has ever seen. In Catholicism’s home, an imperfect and faulty representation of Heavenly Father would surely incite outrage and calls of blaspheme—ensuring the necessity for maximum excellence. Over a span of four years, the artisan cautiously labored plaster and paint over the ceiling’s surface—certifying every minute detail’s faultless precision.

This leads me to the obvious contrast in terms of the treatment and view of women in terms of Catholicism in that women were seen as the “cause of humanity’s downfall” as well as a means of redemption with Mary as Christ’s mother (Goffen 1). Eve is condemned and Mary is described as “highly favored” (Luke 1:28). This leads many to wonder which depiction of the woman is correct, which is most common, and whether or not there is a medium between that of praise and condemnation. These must have been some of the questions many artists struggled with answering when depicting women in their art since they must simultaneously grapple with this dichotomous view of them.

The Sistine Chapel ceiling is one of my favorite paintings by Michelangelo. It took him four years to complete it. What I love about it is that he took the Bible stories and painted them onto the ceiling. Each paint has its own story, and that can speak louder than works at times. As it tells a story, it also tells us a little bit of what his beliefs are.

Biblical and theological literature were included in an attempt to understand the image.This image is a parody of the biblical narrative of the world’s creation and mans fall to sin. More importantly, it is an attempt by the painter to highlight and even over-exaggerate the role, which the woman supposedly played in the fall from grace that the world

In sculpting a Christ figure with a serene face and minimal body damage, Michelangelo sends a strong message to the viewer that the atonement is a blessing to mankind. He did not want to focus on the pain and misery the Savior experienced, but on his success in providing a way for men and God to be reunited. Mary’s face is also different from the way many artists chose to portray her at the time. Michelangelo sculpted her face to appear young, a symbol of incorruptible and eternal beauty (Michelangelo’s Pieta). In choosing to sculpt a young Mary, Michelangelo highlighted the triumph of the Son over age and death, which he extends to all who live

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

The Sistine Chapel is one of the most beautiful artworks known to man, but who knew that so many secrets could be hidden in the artwork that covers the ceilings and walls of the sacred church. The Sistine Chapel was falling apart and after getting it fixed church needed someone to decorate the inside with the most intelligent strokes of a paint brush. After searching Pope Julius ll chose the famous artist Michelangelo to paint the ceiling of the Sistine Chapel. Michelangelo may or may not have wanted to paint the Sistine Chapel for the Pope. Symbols are everywhere in art; Michelangelo was able to put large and even some insulting symbols on the ceiling of the Sistine Chapel.