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Michelangelo di

Lodovico BuonarrotiSimoni

(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)RomeNationality Italian

Field sculpture, painting, architecture, and poetry

Training Apprentice to Domenico Ghirlandaio

Movement High Renaissance

Works David, The Creation of Adam, Piet



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Michelangelo di Lodovico Buonarroti Simoni(March 6, 1475 February18, 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 Piet andDavid, were sculpted before he turned thirty.

Michelangelo also created two of the most influential works in fresco inthe 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 ofSaint 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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Michelangelos 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, Michelangelosaw 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, whichattracted him both aesthetically and emotionally. In part, this was an

expression of the Renaissance idealization of masculinity.



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MICHELANGELOS

THE CREATION OF

ADAM



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The Creation of Adam is a fresco painted by Michelangelo circa 1511 thatappears 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, theStory of Adam and Eve, and the Story of Creation--all from the Book of

Genesis.

God is depicted as an elderlybearded man wrapped in a swirling

cloak while Adam, on the lowerleft, is completely naked.

God's right arm is outstretched toimpart the spark of life from his

own finger into that of Adam,

whose left arm is extended in a

pose mirroring God's, a reminderthat 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 mayhave 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 theGnostics. 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 mayhave 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 theGnostics. 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 theTrinitarian God. Both faces are aligned with that of the Father.

The similar poses of God and Adamthe positions of God's right leg andAdam's left leg are, for instance, nearly identicalreflect 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, iscontrasted 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 figuresand shapes portrayed

behind the figure of God

appeared to be an

anatomically accurate

picture of the human

brain, including the frontal

lobe, optic chiasm, brainstem, 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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ADAMS FINGER AND GODS FINGER

SEPARATED BY A CERTAIN DISTANCE

The focal point of the episode of theCreation 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 manspotential, 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 andsculpture, and perhaps he was also fond of visual puzzles and humour.

There is some speculation that much of the symbolism attributed toMichelangelo'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 ofart, and of physical beauty, and that the intellect is itself divine.

The outline of the human brain in the Creation of Adam may then beinterpreted 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 Buonarroti was principally a sculptor and alwaysclaimed that architecture was not his profession; but, with asculptor's vision, he saw buildings as dynamic organisms -metaphors of the human body - and he designed some of themost impressive architecture in all history. Among his best-known buildings are the Medici Chapel and the LaurentianLibrary in Florence; the Capitoline Hill, St Peter's and the PortaPia in Rome.

MICHELANGELOS CONTRIBUTION TO ARCHITECTURE



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