Michelangelo was a sculptor, painter and architect widely considered to be one of the greatest artists of the Renaissance—and arguably of all time. His work demonstrated a blend of psychological insight, physical realism and intensity never before seen. His contemporaries recognized his extraordinary talent, and Michelangelo received commissions from some of the most wealthy and powerful men of his day, including popes and others affiliated with the Catholic Church. His resulting work, most notably his Pietà and David sculptures and his Sistine Chapel paintings, has been carefully tended and preserved, ensuring that future generations would be able to view and appreciate Michelangelo’s genius.
Early Life and Training
Michelangelo Buonarroti (Michelangelo di Lodovico Buonarroti Simoni) was born on March 6, 1475, in Caprese, Italy. His father worked for the Florentine government, and shortly after his birth his family returned to Florence, the city Michelangelo would always consider his true home.
Florence during the Italian Renaissance period was a vibrant arts center, an opportune locale for Michelangelo’s innate talents to develop and flourish. His mother died when he was 6, and initially his father initially did not approve of his son’s interest in art as a career.
At 13, Michelangelo was apprenticed to painter Domenico Ghirlandaio, particularly known for his murals. A year later, his talent drew the attention of Florence’s leading citizen and art patron, Lorenzo de’ Medici, who enjoyed the intellectual stimulation of being surrounded by the city’s most literate, poetic and talented men. He extended an invitation to Michelangelo to reside in a room of his palatial home.
Michelangelo learned from and was inspired by the scholars and writers in Lorenzo’s intellectual circle, and his later work would forever be informed by what he learned about philosophy and politics in those years. While staying in the Medici home, he also refined his technique under the tutelage of Bertoldo di Giovanni, keeper of Lorenzo’s collection of ancient Roman sculptures and a noted sculptor himself. Although Michelangelo expressed his genius in many media, he would always consider himself a sculptor first.
Sculptures: The Pieta and David
Michelangelo was working in Rome by 1498 when he received a career-making commission from the visiting French cardinal Jean Bilhères de Lagraulas, envoy of King Charles VIII to the pope. The cardinal wanted to create a substantial statue depicting a draped Virgin Mary with her dead son resting in her arms—a Pieta—to grace his own future tomb. Michelangelo’s delicate 69-inch-tall masterpiece featuring two intricate figures carved from one block of marble continues to draw legions of visitors to St. Peter’s Basilica more than 500 years after its completion.
Michelangelo returned to Florence and in 1501 was contracted to create, again from marble, a huge male figure to enhance the city’s famous Duomo, officially the cathedral of Santa Maria del Fiore. He chose to depict the young David from the Old Testament of the Bible as heroic, energetic, powerful and spiritual and literally larger than life at 17 feet tall. The sculpture, considered by scholars to be nearly technically perfect, remains in Florence at the Galleria dell’Accademia, where it is a world-renowned symbol of the city and its artistic heritage.
Paintings: Sistine Chapel
In 1505, Pope Julius II commissioned Michelangelo to sculpt a grand tomb with 40 life-size statues, and the artist began work. But the pope’s priorities shifted away from the project as he became embroiled in military disputes and his funds became scarce, and a displeased Michelangelo left Rome (although he continued to work on the tomb, off and on, for decades).
However, in 1508, Julius called Michelangelo back to Rome for a less expensive, but still ambitious painting project: to depict the 12 apostles on the ceiling of the Sistine Chapel, a most sacred part of the Vatican where new popes are elected and inaugurated.
Instead, over the course of the four-year project, Michelangelo painted 12 figures—seven prophets and five sibyls (female prophets of myth)—around the border of the ceiling and filled the central space with scenes from Genesis.
Critics suggest that the way Michelangelo depicts the prophet Ezekiel—as strong yet stressed, determined yet unsure—is symbolic of Michelangelo’s sensitivity to the intrinsic complexity of the human condition. The most famous Sistine Chapel ceiling painting is the emotion-infused The Creation of Adam, in which God and Adam outstretch their hands to one another.
Architecture & Poems
The quintessential Renaissance man, Michelangelo continued to sculpt and paint until his death, although he increasingly worked on architectural projects as he aged: His work from 1520 to 1527 on the interior of the Medici Chapel in Florence included wall designs, windows and cornices that were unusual in their design and introduced startling variations on classical forms.
Michelangelo also designed the iconic dome of St. Peter’s Basilica in Rome (although its completion came after his death). Among his other masterpieces are Moses (sculpture, completed 1515); The Last Judgment (painting, completed 1534); and Day, Night, Dawn and Dusk (sculptures, all completed by 1533).
From the 1530s on, Michelangelo wrote poems; about 300 survive. Many incorporate the philosophy of Neo-Platonism—that a human soul, powered by love and ecstasy, can reunite with an almighty God—ideas that had been the subject of intense discussion while he was an adolescent living in Lorenzo de’ Medici’s household.
After he left Florence permanently in 1534 for Rome, Michelangelo also wrote many lyrical letters to his family members who remained there. The theme of many was his strong attachment to various young men, especially aristocrat Tommaso Cavalieri. Scholars debate whether this was more an expression of homosexuality or a bittersweet longing by the unmarried, childless, aging Michelangelo for a father-son relationship.
Michelangelo died at age 88 after a short illness in 1564, surviving far past the usual life expectancy of the era. A pieta he had begun sculpting in the late 1540s, intended for his own tomb, remained unfinished but is on display at the Museo dell’Opera del Duomo in Florence—not very far from where Michelangelo is buried, at the Basilica di Santa Croce.