Choice ID Image Painting (From A to Z) Details
52446
Separation of Light from Darkness
1511 Fresco, 180 x 260 cm
42656
Sixtijnse chapel with the ceiling painting
MK169
1534-41
62878
St Anne with the Virgin and the Christ Child
1505 Pen, 254 x 177 mm Ashmolean Museum, Oxford The challenge of this subject is the placement of one grown woman on the lap of another without creating an awkward appearance. Michelangelo dealt with a similar problem already in his Roman Piete a subject which required the placement of an adult male on the lap of a woman. Artist: MICHELANGELO Buonarroti Title: St Anne with the Virgin and the Christ Child Date: 1501-1550 Italian , graphics : religious
63021
St Peter
1501-04 Marble Duomo, Siena Artist: MICHELANGELO Buonarroti Painting Title: St Peter , 1501-1550 Painting Style: Italian , sculpture Type: religious
63024
St Petronius
1494 Marble, height: 64 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Petronius which echoes Donatello and Jacopo della Quercia. (The companion statue of St Proculus testifies to Michelangelo's studies of Masaccio and Donatello.) Artist: MICHELANGELO Buonarroti Painting Title: St Petronius , 1501-1550 Painting Style: Italian , sculpture Type: religious
63025
St Proculus
1494 Marble, height: 58,5 cm with base San Domenico, Bologna In 1494 Michelangelo worked on the shrine of St Dominic, for which he carved this statue of St Proculus which echoes Masaccio and Donatello. (The companion statue of St Petronius testifies to Michelangelo's studies of Donatello and Jacopo della Quercia.) Artist: MICHELANGELO Buonarroti Painting Title: St Proculus , 1501-1550 Painting Style: Italian , sculpture Type: religious
62906
Study
1525 Ink Casa Buonarroti, Florence The picture shows a study for the fortifications of Porta del Prato in Florence. Artist: MICHELANGELO Buonarroti Title: Study Date: 1501-1550 Italian , graphics : study
62893
Study for a Deposition
1555 Red chalk on paper Ashmolean Museum, Oxford Artist: MICHELANGELO Buonarroti Title: Study for a Deposition Date: 1501-1550 Italian , graphics : study
62879
Study for a Madonna and Child
1533 Black chalk on paper British Museum, London Artist: MICHELANGELO Buonarroti Title: Study for a Madonna and Child Date: 1501-1550 Italian , graphics : study
62886
Study for a Nude
1504 Pen and ink over black chalk, 408 x 284 mm Casa Buonarroti, Florence It is assumed but not proved that Michelangelo made this study for the Battle of Cascina. Artist: MICHELANGELO Buonarroti Title: Study for a Nude Date: 1501-1550 Italian , graphics : study
62887
Study for the Battle of Cascina
1505-06 Chalk and silver rod on paper, 235 x 356 mm Galleria degli Uffizi, Florence The attribution of this drawing to Michelangelo is debated. Artist: MICHELANGELO Buonarroti Title: Study for the Battle of Cascina Date: 1501-1550 Italian , graphics : study
62880
Study for the Colonna Piet
1538 Chalk Isabella Stewart Gardner Museum, Boston In 1538, three years before the completion of the Last Judgment, Michelangelo had met Vittoria Colonna. She belonged to the circle of Juan Valdes, who was striving towards an internal reform of the Catholic Church. To put it very simply, one can say that the main conviction of this theological trend was the idea of the utmost need of faith, as opposed to good deeds or sacraments, because, in the last resort, it is only divine grace which is all-powerful. These almost protestant beliefs could not conquer, or in any way change, Michelangelo because too much of his work would have had to be denied. However, they must have to some extent disrupted his firm belief, as he had expressed it in his works, that by creating perfect physical beauty he had represented the essence of the supernatural and of the divine. It is true, however, that he felt the need for divine grace, and, from this point onwards, this had great bearing on his creative life. We find evidence of this in a drawing of the Piete made for Vittoria Colonna. When compared with the 1499 Piete we see clearly that the main objective is the thought of the Compassionate Christ and of the Redemption through Christ's Blood. The work turns openly towards the onlooker to admonish him, drawing his attention to the sacrifice of Golgotha. Artist: MICHELANGELO Buonarroti Title: Study for the Colonna Piete Date: 1501-1550 Italian , graphics : study
62907
Study of a Head
1530 Red chalk, 33,5 x 26,9 cm Casa Buonarroti, Florence Michelangelo seems to have conceived only one erotic painting involving a woman, the Leda and the Swan. The painting is lost, only this very fine read chalk study of a head has survived. Artist: MICHELANGELO Buonarroti Title: Study of a Head Date: 1501-1550 Italian , graphics : study
52452
The Brazen Serpent
1511 Fresco, 585 x 985 cm
62902
The Brazen Serpent
1511 Fresco, 585 x 985 cm Cappella Sistina, Vatican The scenes painted in the pendentives at the sides of prophet Jonah are characterized by the use of pronounced foreshortening. This is the case with the tangled group of Israelites who, in the scene of the Brazen Serpent, writhe in the throes of death, and, above all, with the crucified figure of Haman in the Punishment of Haman. In the Brazen Serpent, the mass of bodies poisoned by the snakes occupies the whole of the right part, spreading toward the center. The survivors are grouped on the left, eyes and arms turned imploringly toward the salvafic image of the brazen serpent. The cruel punishment of the Israelites for having spoken against God and Moses occupies a large part of the pendentive, with bodies intertwined in an indescribable tangle. This presented the artist with an opportunity for virtuosic foreshortening and twisting of the bodies, and also depicting contorted, screaming faces. Much admired by Vasari, the group is a striking forerunner of the spectacular motifs that were, in the following decades, typical of the current of Mannerism comprising Giulio Romano and Vasari himself. The Biblical story (Num. 21 :4-9) The Israelites, discontented with life in the desert, spoke out against God and Moses. They were punished with a plague of poisonous snakes which only increased their hardships. Many died of snakebite. When the people repented, Moses sought God's advice how they should be rid of the snakes. He was told to make an image of one and set it on a pole. Whoever was bitten would be cured when he looked upon the image. Moses accordingly made a serpent of brass on a tau-shaped (T) pole, which proved to have a miraculous curative effect. Representation in Art The Israelites are depicted writhing on the ground, their limbs entwined by snakes. Moses, sometimes with Aaron, stands beside the brazen serpent. John's gospel furnishes the typological parallel: 'This Son of Man must be lifted up as the serpent was lifted up by Moses in the wilderness.' Medieval art juxtaposed the subject with the serpent in the Garden of Eden entwining the Tree of Knowledge. Both probably derive from an ancient and widespread fertility image, the 'asherah', associated with the worship of Astarte, which consisted of a snake and a tree representing respectively the male and female elements. King Hezekiah destroyed the asherah, by inference the one made by Moses, at a time when the Israelites were relapsing into idolatry (II Kings 18:4). The presence and the identification of Moses in Michelangelo's fresco is debated. Artist: MICHELANGELO Buonarroti Title: The Brazen Serpent Date: 1501-1550 Italian , painting : religious
62903
The Brazen Serpent
1511 Fresco Cappella Sistina, Vatican The cruel punishment of the Israelites for having spoken against God and Moses occupies a large part of the pendentive, with bodies intertwined in an indescribable tangle. This presented the artist with an opportunity for virtuosic foreshortening and twisting of the bodies, and also depicting contorted, screaming faces. Artist: MICHELANGELO Buonarroti Title: The Brazen Serpent (detail) Date: 1501-1550 Italian , painting : religious
52422
The ceiling
1508-12 Fresco Cappella Sistina
44879
The Ceiling of the Sistine Chapel
mk176
1508-12
44257
The Conversion of Saul
1542-45
Fresco,
625 x 661 cm
62881
The Conversion of Saul
1542-45 Fresco, width of detail 114 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows soldiers on the left side of the fresco. Artist: MICHELANGELO Buonarroti Title: The Conversion of Saul (detail) Date: 1501-1550 Italian , painting : religious
62882
The Conversion of Saul
1542-45 Fresco, width of detail 101 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows St Paul and a soldier. Artist: MICHELANGELO Buonarroti Title: The Conversion of Saul (detail) Date: 1501-1550 Italian , painting : religious
31358
The Creation of Adam
nn07
1508-1512
33478
The Creation of Adam
mk86
c.1510
Fresco
c.280x570cm
Rome,Vatican,Sistine Chapel
39444
The crucifixion of the Hl. Petrus
mk148
late fresco of Michelangelo(1475-1564) in the Cappella Paolina, Vatican
62922
The Cumaean Sibyl
1510 Fresco, 375 x 380 cm Cappella Sistina, Vatican The Cumaean Sibyl oppresses by the sheer weight of her bulk and a commanding ugliness. With the open folio bound in green and her two genii gazing at its pages over her shoulders she has become one of the Fates, a towering shape with human features. Whenever Sibyls are mentioned, the Cumaea at once comes to mind. In the art of Michelangelo and other painters her powerful presence overshadows every other Sibyl, even her younger and more beautiful sisters, such as the Delphica. Artist: MICHELANGELO Buonarroti Title: The Cumaean Sibyl Date: 1501-1550 Italian , painting : religious
44268
The Delphic Sibyl
350 x 380 cm
62916
The Delphic Sibyl
1509 Fresco Cappella Sistina, Vatican In the center of the face - seen frontally, half in the light and half in a moderate shadow - there are traces of a crossincised to mark the vertical axis of the oval and the alignment of the eyes. Artist: MICHELANGELO Buonarroti Title: The Delphic Sibyl (detail) Date: 1501-1550 Italian , painting : religious
52436
The Deluge
1508-09 Fresco, 280 x 570 cm
23384
The Doni Tondo (nn03)
c 1503/4 Tempera on panel diam 120 cm diam 47 1/4 in Galleria degli Uffizi Florence
42964
The Entombment
mk170
1497-1498
Oil on wood
161.7x149.9cm
44269
The Erythraean Sibyl
360 x 380 cm
62917
The Erythraean Sibyl
1509 Fresco Cappella Sistina, Vatican Artist: MICHELANGELO Buonarroti Title: The Erythraean Sibyl (detail) Date: 1501-1550 Italian , painting : religious
44261
The Fall and Expulsion from Garden of Eden
1509-10
Fresco,
280 x 570 cm
62908
The Fall of Phaeton
1533 Chalk British Museum, London In Greek mythology Phaeton was the son of Helios, the sun-god. Helios drove his golden chariot, a 'quadriga' yoked to a team of four horses abreast, daily across the sky. Phaeton persuaded his unwilling father to allow him for one day to drive his chariot across the skies. Because he had no skill he was soon in trouble, and the climax came when he met the fearful Scorpion of the zodiac. He dropped the reins, the horses bolted and caused the earth itself to catch fire. In the nick of time Jupiter, father of the goods, put a stop to his escapade with a thunderbolt which wrecked the chariot and sent Phaeton hurtling down in flames into the River Eridanus (according to some, the Po). He was buried by nymphs. Phaetons's reckless attempt to drive his father's chariot made him the symbol of all who aspire to that which lies beyond their capabilities. The fall of Phaeton was a popular theme, common in Renaissance and Baroque painting, especially on ceilings in the later period. Phaeton, the chariot, and four horses, reins flying, all tumble headlong out of the sky. Above, Jupiter throws a thunderbolt. Artist: MICHELANGELO Buonarroti Title: The Fall of Phaeton Date: 1501-1550 Italian , graphics : religious
52432
The first bay of the ceiling
1508-12 Fresco Cappella Sistina
52439
The fourth bay of the ceiling
1508-12 Fresco Cappella Sistina
44255
The Holy Family with the infant St. John the Baptist
c. 1506
Tempera on panel,
diameter 120 cm
29033
The Holy Family with the Young St.John the Baptist
mk65
Oil on panel
47 1/4in
Uffizi,Gllery
40292
The Holy Family with the Young St.John the Baptist
mk153
c.1506
Oil on panel
40357
The Last judgment
mk156
1536-40
Fresco
12.2x13.7cm
44896
The Last Judgment
mk176
1536-41
56018
the last judgment
mk247
1535 to 41 ,fresco,540x480 in,1370x1220 cm,sistine chapel,vatican city,ltaly
52418
The Libyan Sibyl
1511 Fresco, 395 x 380 cm
42965
THe Madonna and Child with Saint John and Angels
mk170
circa 1500
Tempera on wood
104.5x77cm
52444
The ninth bay of the ceiling
1508-12 Fresco Cappella Sistina,
52435
The second bay of the ceiling
1508-12 Fresco Cappella Sistina
52442
The seventh bay of the ceiling
1508-12 Fresco Cappella Sistina
56704
the sistine chapel ceiling
mk247
1508 to 12,fresco ,sistine chapel,vatican city,ltaly
52437
The third bay of the ceiling
1508-12 Fresco Cappella Sistina
39424
The victim Noachs
mk148
around 1510, cover painting in the Sixtinischen chapel, Rome. after this victim God closed its pact with Noach gene 8.20) and it that" laws Noachs" given
63011
Tomb of Giuliano de' Medici
1526-33 Marble, 630 x 420 cm Sagrestia Nuova, San Lorenzo, Florence Michelangelo received the commission for the Medici Chapel in 1520 from the Medici Pope Leo X (1513-23). The Pope wanted to combine the tombs of his younger brother Giuliano, Duke of Nemours, and his nephew Lorenzo, Duke of Urbino, with those of the "Magnifici", Lorenzo and his brother Giuliano, who had been murdered in 1478; their tombs were then in the Old Sacristy of San Lorenzo. The plans for the chapel which we still have, shows us that the Pope allowed Michelangelo a great freedom in his task. Not much of this vast plan was in fact carried out, yet it is enough to give us an idea of what Michelangelo's overall conception must have been. Each of the Dukes' tombs is divided into two areas, and the border is well marked by a projecting cornice. In the lower part are the sarcophagi with the mortal remains of the Dukes, on which lie Twilight and Dawn, Night and Day as the symbol of the vanity of things. Above this temporal area, the nobility of the figures of the Dukes and the subtlety of the richly decorated architecture which surrounds them represent a higher sphere: the abode of the free and redeemed spirit. Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici , 1501-1550
63012
Tomb of Giuliano de' Medici
1526-33 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Giuliano de' Medici (detail) , 1501-1550
63013
Tomb of Lorenzo de' Medici
1524-31 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Tomb of Lorenzo de' Medici (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious
52426
Uzziah - Jotham - Ahaz
1511-12 Fresco, 215 x 430 cm
62909
View of the Chapel
Palazzi Pontifici, Vatican Between 1537 and 1540, Antonio da Sangallo the Younger built the Pauline Chapel in the Vatican, as Pope's (Paul III) private chapel. In 1541 Michelangelo was asked to decorate the central parts of the two longer walls with two frescoes. The first, The Conversion of Saint Paul, was begun in 1542; the second, the Martyrdom of St Peter, was painted between 1546 and 1550. Before this, no one had ever attempted to place these two themes next to each other. Michelangelo portrays what is by this time his plan of life: death for the faith must follow conversion and be its confirmation. To Paul, who has fallen and has been forced to shut his eyes because of the brilliance of divine light, he gives his own face and makes Peter, nailed to the cross, in the supreme tension of the last moment of life, forcefully look at the spectator. Artist: MICHELANGELO Buonarroti Title: View of the Chapel Date: 1501-1550 Italian , painting : other
44259
Zechariah
1509
360 x 390 cm
