How did inography of Sat Sebastian bee popular the gay muny? Osr Wil was taken wh Guido Reni's patg the figure.
Contents:
- HOW DID A THIRD-CENTURY CATHOLIC SAT BEE A GAY IN? HERE’S THE HOMOEROTIC HISTORY OF SAT SEBASTIAN
- {LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}ITALIAN RENAISSANCE ARTIST MICHELANGELO CREATED THE 'DAVID' AND 'PIETA' SCULPTUR AND THE SISTE CHAPEL AND 'LAST JUDGMENT' {MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{LE-HEIGHT:1.6;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;FONT-FAY:RALAS,GEIA,TIM,SERIF;LOR:#323232;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: MAR 4, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{PADDG-RIGHT:0.3125REM;LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: HULTON ARCHIVE/GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;}(1475-1564){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS MICHELANGELO?MICHELANGELO BUONARROTI WAS A PATER, SCULPTOR, ARCHECT AND POET WILY NSIRED ONE OF THE MOST BRILLIANT ARTISTS OF THE {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}ITALIAN RENAISSANCE. MICHELANGELO WAS AN APPRENTICE TO A PATER BEFORE STUDYG THE SCULPTURE GARNS OF THE POWERFUL MEDICI FAY. WHAT FOLLOWED WAS A REMARKABLE REER AS AN ARTIST, FAMED HIS OWN TIME FOR HIS ARTISTIC VIRTUOSY. ALTHOUGH HE ALWAYS NSIRED HIMSELF A FLORENTE, MICHELANGELO LIVED MOST OF HIS LIFE ROME, WHERE HE DIED AT AGE 88. EARLY LIFEMICHELANGELO WAS BORN ON MARCH 6, 1475, CAPRE, ITALY, THE SEND OF FIVE SONS.WHEN MICHELANGELO WAS BORN, HIS FATHER, LEONARDO DI BUONARROTA SIMONI, WAS BRIEFLY SERVG AS A MAGISTRATE THE SMALL VILLAGE OF CAPRE. THE FAY RETURNED TO FLORENCE WHEN MICHELANGELO WAS STILL AN FANT. HIS MOTHER, FRANC NERI, WAS ILL, SO MICHELANGELO WAS PLACED WH A FAY OF STONECUTTERS, WHERE HE LATER JTED, "WH MY WET-NURSE'S K, I SUCKED THE HAMMER AND CHISELS I E FOR MY STATU."EDUTNINED, MICHELANGELO WAS LS TERTED SCHOOLG THAN WATCHG THE PATERS AT NEARBY CHURCH AND DRAWG WHAT HE SAW, ACRDG TO HIS EARLIT BGRAPHERS (VASARI, CONDIVI AND VARCHI). IT MAY HAVE BEEN HIS GRAMMAR SCHOOL IEND, FRANC GRANACCI, SIX YEARS HIS SENR, WHO TRODUCED MICHELANGELO TO PATER DOMENI GHIRLANDA.MICHELANGELO'S FATHER REALIZED EARLY ON THAT HIS SON HAD NO TERT THE FAY FANCIAL BS, SO HE AGREED TO APPRENTICE HIM, AT THE AGE OF 13, TO GHIRLANDA AND THE FLORENTE PATER'S FASHNABLE WORKSHOP. THERE, MICHELANGELO WAS EXPOSED TO THE TECHNIQUE OF (A MURAL PATG TECHNIQUE WHERE PIGMENT IS PLACED DIRECTLY ON H, OR WET, LIME PLASTER).MEDICI FAYFROM 1489 TO 1492, MICHELANGELO STUDIED CLASSIL SCULPTURE THE PALACE GARNS OF FLORENTE LER LORENZO ' MEDICI OF THE POWERFUL MEDICI FAY. THIS EXTRAORDARY OPPORTUNY OPENED TO HIM AFTER SPENDG ONLY A YEAR AT GHIRLANDA’S WORKSHOP, AT HIS MENTOR’S REMENDATN. THIS WAS A FERTILE TIME FOR MICHELANGELO; HIS YEARS WH THE FAY PERMTED HIM ACCS TO THE SOCIAL ELE OF FLORENCE — ALLOWG HIM TO STUDY UNR THE RPECTED SCULPTOR BERTOLDO DI GVANNI AND EXPOSG HIM TO PROMENT POETS, SCHOLARS AND LEARNED HUMANISTS. HE ALSO OBTAED SPECIAL PERMISSN OM THE CATHOLIC CHURCH TO STUDY DAVERS FOR SIGHT TO ANATOMY, THOUGH EXPOSURE TO RPS HAD AN ADVERSE EFFECT ON HIS HEALTH.THE BED FLUENC LAID THE GROUNDWORK FOR WHAT WOULD BEE MICHELANGELO'S DISTCTIVE STYLE: A MCULAR PRECISN AND REALY BED WH AN ALMOST LYRIL BETY. TWO RELIEF SCULPTUR THAT SURVIVE, "BATTLE OF THE CENTRS" AND "MADONNA SEATED ON A STEP," ARE TTAMENTS TO HIS PHENOMENAL TALENT AT THE TENR AGE OF {BORR-LEFT:MEDIUM SOLID BLACK;BORR-LEFT-LOR:#A00000;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG:0.625REM 0 0;PADDG-LEFT:1.25REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}DOWNLOAD BIOGRAPHY'S MICHELANGELO FACT {--DATA-EMBED-DISPLAY:FLEX;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;CLEAR:BOTH;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;MARG-BOTTOM:0.9375REM;MARG-LEFT:TO;MARG-RIGHT:TO;WIDTH:100%;}@MEDIA(M-WIDTH: 20REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 30REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 40.625REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 48REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 73.75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 90REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}} A SPAN{RIGHT:1REM;} IMG{WIDTH:TO;HEIGHT:85VH;} A{DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;POSN:VAR(--POSN, RELATIVE);} IMG:NOT(.EWCW41W1){DISPLAY:BLOCK;WIDTH:100%;HEIGHT:TO;-WEBK-ALIGN-SELF:FLEX-START;-MS-FLEX-EM-ALIGN:FLEX-START;ALIGN-SELF:FLEX-START;}{WIDTH:100%;DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;MARG-LEFT:TO;MARG-RIGHT:TO;-WEBK-BOX-PACK:CENTER;-MS-FLEX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;JTIFY-NTENT:CENTER;}@MEDIA(M-WIDTH: 20REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 30REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 40.625REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 73.75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;}}MOVE TO ROMEPOLIL STRIFE THE AFTERMATH OF LORENZO ' MEDICI’S ATH LED MICHELANGELO TO FLEE TO BOLOGNA, WHERE HE NTUED HIS STUDY. HE RETURNED TO FLORENCE 1495 TO BEG WORK AS A SCULPTOR, MOLG HIS STYLE AFTER MASTERPIEC OF CLASSIL ANTIQUY.THERE ARE SEVERAL VERSNS OF AN TRIGUG STORY ABOUT MICHELANGELO'S FAMED "CUPID" SCULPTURE, WHICH WAS ARTIFICIALLY "AGED" TO REMBLE A RARE ANTIQUE: ONE VERSN CLAIMS THAT MICHELANGELO AGED THE STATUE TO ACHIEVE A CERTA PATA, AND ANOTHER VERSN CLAIMS THAT HIS ART ALER BURIED THE SCULPTURE (AN "AGG" METHOD) BEFORE ATTEMPTG TO PASS OFF AS AN ANTIQUE.CARDAL RIAR OF SAN GRG BOUGHT THE "CUPID" SCULPTURE, BELIEVG AS SUCH, AND MAND HIS MONEY BACK WHEN HE DISVERED HE'D BEEN DUPED. STRANGELY, THE END, RIAR WAS SO IMPRSED WH MICHELANGELO'S WORK THAT HE LET THE ARTIST KEEP THE MONEY. THE RDAL EVEN VED THE ARTIST TO ROME, WHERE MICHELANGELO WOULD LIVE AND WORK FOR THE RT OF HIS LIFE.PERSONALYTHOUGH MICHELANGELO'S BRILLIANT MD AND P TALENTS EARNED HIM THE REGARD AND PATRONAGE OF THE WEALTHY AND POWERFUL MEN OF ITALY, HE HAD HIS SHARE OF TRACTORS. HE HAD A NTENT PERSONALY AND QUICK TEMPER, WHICH LED TO ACT RELATNSHIPS, OFTEN WH HIS SUPERRS. THIS NOT ONLY GOT MICHELANGELO TO TROUBLE, CREATED A PERVASIVE DISSATISFACTN FOR THE PATER, WHO NSTANTLY STRIVED FOR PERFECTN BUT WAS UNABLE TO PROMISE.HE SOMETIM FELL TO SPELLS OF MELANCHOLY, WHICH WERE RERD MANY OF HIS LERARY WORKS: "I AM HERE GREAT DISTRS AND WH GREAT PHYSIL STRA, AND HAVE NO IENDS OF ANY KD, NOR DO I WANT THEM; AND I DO NOT HAVE ENOUGH TIME TO EAT AS MUCH AS I NEED; MY JOY AND MY SORROW/MY REPOSE ARE THE DISFORTS," HE ONCE WROTE.IN HIS YOUTH, MICHELANGELO HAD TNTED A FELLOW STUNT, AND RECEIVED A BLOW ON THE NOSE THAT DISFIGURED HIM FOR LIFE. OVER THE YEARS, HE SUFFERED CREASG FIRMI OM THE RIGORS OF HIS WORK; ONE OF HIS POEMS, HE DOCUMENTED THE TREMENDO PHYSIL STRA THAT HE ENDURED BY PATG THE SISTE CHAPEL CEILG.POLIL STRIFE HIS BELOVED FLORENCE ALSO GNAWED AT HIM, BUT HIS MOST NOTABLE ENMY WAS WH FELLOW FLORENTE ARTIST LEONARDO DA VCI, WHO WAS MORE THAN 20 YEARS HIS SENR.POETRY AND PERSONAL LIFEMICHELANGELO'S POETIC IMPULSE, WHICH HAD BEEN EXPRSED HIS SCULPTUR, PATGS AND ARCHECTURE, BEGAN TAKG LERARY FORM HIS LATER YEARS.ALTHOUGH HE NEVER MARRIED, MICHELANGELO WAS VOTED TO A P AND NOBLE WIDOW NAMED VTORIA COLONNA, THE SUBJECT AND RECIPIENT OF MANY OF HIS MORE THAN 300 POEMS AND SONS. THEIR IENDSHIP REMAED A GREAT SOLACE TO MICHELANGELO UNTIL COLONNA'S ATH 1547.SCULPTUR'PIETA'SOON AFTER MICHELANGELO'S MOVE TO ROME 1498, THE RDAL JEAN BILHèR LAGRLAS, A REPRENTATIVE OF THE FRENCH KG CHARL VIII TO THE POPE, MISSNED "PIETA," A SCULPTURE OF MARY HOLDG THE AD J ACROSS HER LAP. MICHELANGELO, WHO WAS JT 25 YEARS OLD AT THE TIME, FISHED HIS WORK LS THAN ONE YEAR, AND THE STATUE WAS ERECTED THE CHURCH OF THE RDAL'S TOMB. AT 6 FEET WI AND NEARLY AS TALL, THE STATUE HAS BEEN MOVED FIVE TIM SCE, TO S PRENT PLACE OF PROMENCE AT ST. PETER'S BASILI VATIN CY.CARVED OM A SGLE PIECE OF CARRARA MARBLE, THE FLUIDY OF THE FABRIC, POSNS OF THE SUBJECTS, AND "MOVEMENT" OF THE SK OF THE PIET — MEANG "PY" OR "PASSN" — CREATED AWE FOR S EARLY VIEWERS, AS DO EVEN TODAY. IT IS THE ONLY WORK TO BEAR MICHELANGELO’S NAME: LEGEND HAS THAT HE OVERHEARD PILGRIMS ATTRIBUTE THE WORK TO ANOTHER SCULPTOR, SO HE BOLDLY RVED HIS SIGNATURE THE SASH ACROSS MARY'S CHT. TODAY, THE "PIETA" REMAS A UNIVERSALLY REVERED WORK. 'DAVID'BETWEEN 1501 AND 1504, MICHELANGELO TOOK OVER A MISSN FOR A STATUE OF "DAVID," WHICH TWO PRR SCULPTORS HAD PREVLY ATTEMPTED AND ABANDONED, AND TURNED THE 17-FOOT PIECE OF MARBLE TO A DOMATG FIGURE. THE STRENGTH OF THE STATUE'S SEWS, VULNERABILY OF S NAKEDNS, HUMANY OF EXPRSN AND OVERALL URAGE MA THE "DAVID" A HIGHLY PRIZED REPRENTATIVE OF THE CY OF FLORENCE. ORIGALLY MISSNED FOR THE THEDRAL OF FLORENCE, THE FLORENTE ERNMENT STEAD STALLED THE STATUE ONT OF THE PALAZZO VECCH. IT NOW LIV FLORENCE’S ACMIA GALLERY.PATGSSISTE CHAPELPOPE JULI II ASKED MICHELANGELO TO SWCH OM SCULPTG TO PATG TO RATE THE CEILG OF THE SISTE CHAPEL, WHICH THE ARTIST REVEALED ON OCTOBER 31, 1512. THE PROJECT FUELED MICHELANGELO’S IMAGATN, AND THE ORIGAL PLAN FOR 12 APOSTL MORPHED TO MORE THAN 300 FIGUR ON THE CEILG OF THE SACRED SPACE. (THE WORK LATER HAD TO BE PLETELY REMOVED SOON AFTER DUE TO AN FECT FUNG THE PLASTER, THEN RECREATED.) MICHELANGELO FIRED ALL OF HIS ASSISTANTS, WHOM HE EMED EPT, AND PLETED THE 65-FOOT CEILG ALONE, SPENDG ENDLS HOURS ON HIS BACK AND GUARDG THE PROJECT JEALOLY UNTIL PLETN.THE RULTG MASTERPIECE IS A TRANSCENNT EXAMPLE OF HIGH RENAISSANCE ART RPORATG THE SYMBOLOGY, PROPHECY AND HUMANIST PRCIPL OF CHRISTIANY THAT MICHELANGELO HAD ABSORBED DURG HIS YOUTH. 'CREATN OF ADAM'THE VIVID VIGT OF MICHELANGELO'S SISTE CEILG PRODUCE A KALEIDOSPE EFFECT, WH THE MOST INIC IMAGE BEG THE "CREATN OF ADAM," A FAMO PORTRAYAL OF GOD REACHG DOWN TO TOUCH THE FGER OF MAN. RIVAL ROMAN PATER RAPHAEL EVINTLY ALTERED HIS STYLE AFTER SEEG THE WORK.'LAST JUDGMENT'MICHELANGELO UNVEILED THE SOARG "LAST JUDGMENT" ON THE FAR WALL OF THE SISTE CHAPEL 1541. THERE WAS AN IMMEDIATE OUTCRY THAT THE NU FIGUR WERE APPROPRIATE FOR SO HOLY A PLACE, AND A LETTER LLED FOR THE STCTN OF THE RENAISSANCE'S LARGT . THE PATER RETALIATED BY SERTG TO THE WORK NEW PORTRAYALS: HIS CHIEF CRIC AS A VIL AND HIMSELF AS THE FLAYED ST. BARTHOLOMEW.ARCHECTUREALTHOUGH MICHELANGELO NTUED TO SCULPT AND PAT THROUGHOUT HIS LIFE, FOLLOWG THE PHYSIL RIGOR OF PATG THE SISTE CHAPEL HE TURNED HIS FOC TOWARD ARCHECTURE. HE NTUED TO WORK ON THE TOMB OF JULI II, WHICH THE POPE HAD TERPTED FOR HIS SISTE CHAPEL MISSN, FOR THE NEXT SEVERAL S. MICHELANGELO ALSO SIGNED THE MEDICI CHAPEL AND THE LRENTIAN LIBRARY — LOTED OPPOSE THE BASILI SAN LORENZO FLORENCE — TO HOE THE MEDICI BOOK LLECTN. THE BUILDGS ARE NSIRED A TURNG POT ARCHECTURAL HISTORY. BUT MICHELANGELO'S CROWNG GLORY THIS FIELD ME WHEN HE WAS MA CHIEF ARCHECT OF ST. PETER'S BASILI 1546.WAS MICHELANGELO GAY?IN 1532, MICHELANGELO VELOPED AN ATTACHMENT TO A YOUNG NOBLEMAN, TOMMASO I CAVALIERI, AND WROTE DOZENS OF ROMANTIC SONS DITED TO CAVALIERI. DPE THIS, SCHOLARS DISPUTE WHETHER THIS WAS A PLATONIC OR A HOMOSEXUAL RELATNSHIP.DEATHMICHELANGELO DIED ON FEBARY 18, 1564 — JT WEEKS BEFORE HIS 89TH BIRTHDAY — AT HIS HOME MACEL 'CORVI, ROME, FOLLOWG A BRIEF ILLNS. A NEPHEW BORE HIS BODY BACK TO FLORENCE, WHERE HE WAS REVERED BY THE PUBLIC AS THE "FATHER AND MASTER OF ALL THE ARTS." HE WAS LAID TO RT AT THE BASILI DI SANTA CROCE — HIS CHOSEN PLACE OF BURIAL.LEGACYUNLIKE MANY ARTISTS, MICHELANGELO ACHIEVED FAME AND WEALTH DURG HIS LIFETIME. HE ALSO HAD THE PECULIAR DISTCTN OF LIVG TO SEE THE PUBLITN OF TWO BGRAPHI ABOUT HIS LIFE, WRTEN BY GRG VASARI AND ASN CONDIVI. APPRECIATN OF MICHELANGELO'S ARTISTIC MASTERY HAS ENDURED FOR CENTURI, AND HIS NAME HAS BEE SYNONYMO WH THE FT HUMANIST TRADN OF THE RENAISSANCE.WATCH "MICHELANGELO: ARTIST AND MAN" ON HISTORY {BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK FACTS
HOW DID A THIRD-CENTURY CATHOLIC SAT BEE A GAY IN? HERE’S THE HOMOEROTIC HISTORY OF SAT SEBASTIAN
* gay renaissance painter *
(A mockg name aimed at Bazzi’s homosexualy that Bazzi later began to embrace) was a pater of the Italian renaissance, born Savoy, Italy.
This work particular hosts a homosocial event of mic and s nnectns to love, as signified by the cupid on the left si of the patg.
{LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:600;MARG-BOTTOM:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:0.875REM;LE-HEIGHT:1.2;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1.25REM;LE-HEIGHT:1.2;}} A{-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:HER;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;} A:HOVER{LOR:#A00000;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}ITALIAN RENAISSANCE ARTIST MICHELANGELO CREATED THE 'DAVID' AND 'PIETA' SCULPTUR AND THE SISTE CHAPEL AND 'LAST JUDGMENT' {MARG-BOTTOM:0.625REM;PADDG-RIGHT:0.3125REM;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;} SPAN{LE-HEIGHT:1.6;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;}{FONT-STYLE:NORMAL;PADDG-RIGHT:0.3125REM;FONT-FAY:RALAS,GEIA,TIM,SERIF;LOR:#323232;FONT-SIZE:0.75REM;LE-HEIGHT:1.3;FONT-WEIGHT:BOLD;TEXT-TRANSFORM:PALIZE;}{DISPLAY:LE-BLOCK;TEXT-TRANSFORM:UPPERSE;MARG-LEFT:0.625REM;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}UPDATED: MAR 4, {DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;}{MARG-BOTTOM:0.9375REM;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 64REM){{MAX-WIDTH:LC(100VW - (1REM * 2));MARG-LEFT:1REM;MARG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(-1 * 1REM);}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MARG-LEFT:TO;MARG-RIGHT:TO;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC((100VW - (LC(20.625REM * 2 - 1REM) - 2 * 1REM)) / -2);}}@MEDIA(M-WIDTH: 61.25REM) AND (MAX-WIDTH: 90REM){{MAX-WIDTH:LC(20.625REM * 2 - 1REM);MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / 2);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 - 1REM) - 1REM - 20.625REM) / -2) - 1REM);}}@MEDIA(M-WIDTH: 90REM){{MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 2);MAX-WIDTH:LC(20.625REM * 2 - 1REM);PADDG-LEFT:1REM;PADDG-RIGHT:1REM;} .E152U5OS0{WIDTH:100VW;MARG-LEFT:LC(LC((100VW - LC(20.625REM * 2 + 1REM)) / -2) - LC(2 * 1REM));}[DATA-HAS-SPONSOR] {MARG-LEFT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);MARG-RIGHT:LC((100VW - LC(20.625REM * 2 - 1REM)) / 4);}}{JTIFY-SELF:CENTER;POSN:RELATIVE;}@MEDIA(MAX-WIDTH: 48REM){{MARG-LEFT:-50VW;MARG-RIGHT:-50VW;WIDTH:100VW;LEFT:50%;RIGHT:50%;}}{HEIGHT:TO;}@MEDIA(MAX-WIDTH: 48REM){{MARG:TO LC(50% - 50VW);}}@MEDIA(M-WIDTH: 48REM){{MARG:TO;}}{POSN:RELATIVE;HEIGHT:TO;}{POSN:RELATIVE;WIDTH:100%;HEIGHT:100%;OBJECT-F:VER;VERTIL-ALIGN:TOP;}{LE-HEIGHT:1;MARG-TOP:0.3125REM;}@MEDIA(MAX-WIDTH: 73.75REM){{PADDG-LEFT:0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0;}}{PADDG-RIGHT:0.3125REM;LOR:#595959;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-SIZE:0.75REM;LE-HEIGHT:1;FONT-WEIGHT:800;}PHOTO: HULTON ARCHIVE/GETTY {FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;PADDG-LEFT:0REM;PADDG-RIGHT:0REM;POSN:RELATIVE;}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:3.5REM;PADDG-RIGHT:3.5REM;}}@MEDIA(M-WIDTH: 48REM) AND (MAX-WIDTH: 61.25REM){{MAX-WIDTH:45.25REM;MARG-LEFT:TO;MARG-RIGHT:TO;}}@MEDIA(M-WIDTH: 61.25REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 73.75REM) AND (MAX-WIDTH: 100REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;PADDG-RIGHT:0REM;}} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;}{CLEAR:BOTH;NTENT:" ";DISPLAY:BLOCK;FONT-SIZE:0.7REM;LE-HEIGHT:1.5REM;HEIGHT:0REM;VISIBILY:HIDN;}{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-SIZE:1.1875REM;LE-HEIGHT:1.6;} STRONG{FONT-FAY:CHARTER,GEIA,TIM,SERIF;FONT-WEIGHT:BOLD;} EM{FONT-STYLE:ALIC;FONT-FAY:CHARTER,GEIA,TIM,SERIF;}(1475-1564){LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG-BOTTOM:0.625REM;MARG-TOP:0.625REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1.875REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:2REM;LE-HEIGHT:1.1;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}WHO WAS MICHELANGELO?MICHELANGELO BUONARROTI WAS A PATER, SCULPTOR, ARCHECT AND POET WILY NSIRED ONE OF THE MOST BRILLIANT ARTISTS OF THE {-WEBK-TEXT-RATN:UNRLE;TEXT-RATN:UNRLE;TEXT-RATN-THICKNS:0.0625REM;TEXT-RATN-LOR:HER;TEXT-UNRLE-OFFSET:0.25REM;LOR:#A00000;-WEBK-TRANSN:ALL 0.3S EASE--OUT;TRANSN:ALL 0.3S EASE--OUT;}{LOR:#595959;TEXT-RATN-LOR:BORR-LK-BODY-HOVER;}ITALIAN RENAISSANCE. MICHELANGELO WAS AN APPRENTICE TO A PATER BEFORE STUDYG THE SCULPTURE GARNS OF THE POWERFUL MEDICI FAY. WHAT FOLLOWED WAS A REMARKABLE REER AS AN ARTIST, FAMED HIS OWN TIME FOR HIS ARTISTIC VIRTUOSY. ALTHOUGH HE ALWAYS NSIRED HIMSELF A FLORENTE, MICHELANGELO LIVED MOST OF HIS LIFE ROME, WHERE HE DIED AT AGE 88. EARLY LIFEMICHELANGELO WAS BORN ON MARCH 6, 1475, CAPRE, ITALY, THE SEND OF FIVE SONS.WHEN MICHELANGELO WAS BORN, HIS FATHER, LEONARDO DI BUONARROTA SIMONI, WAS BRIEFLY SERVG AS A MAGISTRATE THE SMALL VILLAGE OF CAPRE. THE FAY RETURNED TO FLORENCE WHEN MICHELANGELO WAS STILL AN FANT. HIS MOTHER, FRANC NERI, WAS ILL, SO MICHELANGELO WAS PLACED WH A FAY OF STONECUTTERS, WHERE HE LATER JTED, "WH MY WET-NURSE'S K, I SUCKED THE HAMMER AND CHISELS I E FOR MY STATU."EDUTNINED, MICHELANGELO WAS LS TERTED SCHOOLG THAN WATCHG THE PATERS AT NEARBY CHURCH AND DRAWG WHAT HE SAW, ACRDG TO HIS EARLIT BGRAPHERS (VASARI, CONDIVI AND VARCHI). IT MAY HAVE BEEN HIS GRAMMAR SCHOOL IEND, FRANC GRANACCI, SIX YEARS HIS SENR, WHO TRODUCED MICHELANGELO TO PATER DOMENI GHIRLANDA.MICHELANGELO'S FATHER REALIZED EARLY ON THAT HIS SON HAD NO TERT THE FAY FANCIAL BS, SO HE AGREED TO APPRENTICE HIM, AT THE AGE OF 13, TO GHIRLANDA AND THE FLORENTE PATER'S FASHNABLE WORKSHOP. THERE, MICHELANGELO WAS EXPOSED TO THE TECHNIQUE OF (A MURAL PATG TECHNIQUE WHERE PIGMENT IS PLACED DIRECTLY ON H, OR WET, LIME PLASTER).MEDICI FAYFROM 1489 TO 1492, MICHELANGELO STUDIED CLASSIL SCULPTURE THE PALACE GARNS OF FLORENTE LER LORENZO ' MEDICI OF THE POWERFUL MEDICI FAY. THIS EXTRAORDARY OPPORTUNY OPENED TO HIM AFTER SPENDG ONLY A YEAR AT GHIRLANDA’S WORKSHOP, AT HIS MENTOR’S REMENDATN. THIS WAS A FERTILE TIME FOR MICHELANGELO; HIS YEARS WH THE FAY PERMTED HIM ACCS TO THE SOCIAL ELE OF FLORENCE — ALLOWG HIM TO STUDY UNR THE RPECTED SCULPTOR BERTOLDO DI GVANNI AND EXPOSG HIM TO PROMENT POETS, SCHOLARS AND LEARNED HUMANISTS. HE ALSO OBTAED SPECIAL PERMISSN OM THE CATHOLIC CHURCH TO STUDY DAVERS FOR SIGHT TO ANATOMY, THOUGH EXPOSURE TO RPS HAD AN ADVERSE EFFECT ON HIS HEALTH.THE BED FLUENC LAID THE GROUNDWORK FOR WHAT WOULD BEE MICHELANGELO'S DISTCTIVE STYLE: A MCULAR PRECISN AND REALY BED WH AN ALMOST LYRIL BETY. TWO RELIEF SCULPTUR THAT SURVIVE, "BATTLE OF THE CENTRS" AND "MADONNA SEATED ON A STEP," ARE TTAMENTS TO HIS PHENOMENAL TALENT AT THE TENR AGE OF {BORR-LEFT:MEDIUM SOLID BLACK;BORR-LEFT-LOR:#A00000;LOR:#323232;FONT-FAY:GILROY,HELVETI,ARIAL,SANS-SERIF;FONT-WEIGHT:800;LETTER-SPACG:0.02EM;MARG:0.625REM 0 0;PADDG-LEFT:1.25REM;}@MEDIA(MAX-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 48REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}}@MEDIA(M-WIDTH: 64REM){{FONT-SIZE:1REM;LE-HEIGHT:1.4;}} B, STRONG{FONT-FAY:HER;FONT-WEIGHT:BOLD;} EM, I{FONT-FAY:HER;FONT-STYLE:ALIC;}DOWNLOAD BIOGRAPHY'S MICHELANGELO FACT {--DATA-EMBED-DISPLAY:FLEX;-WEBK-ALIGN-EMS:CENTER;-WEBK-BOX-ALIGN:CENTER;-MS-FLEX-ALIGN:CENTER;ALIGN-EMS:CENTER;CLEAR:BOTH;DISPLAY:-WEBK-BOX;DISPLAY:-WEBK-FLEX;DISPLAY:-MS-FLEXBOX;DISPLAY:FLEX;MARG-BOTTOM:0.9375REM;MARG-LEFT:TO;MARG-RIGHT:TO;WIDTH:100%;}@MEDIA(M-WIDTH: 20REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 30REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 40.625REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 48REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 64REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 73.75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 75REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}}@MEDIA(M-WIDTH: 90REM){{WIDTH:100%;MARG:0 TO 0.9375REM;}} A SPAN{RIGHT:1REM;} IMG{WIDTH:TO;HEIGHT:85VH;} A{DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;POSN:VAR(--POSN, RELATIVE);} IMG:NOT(.EWCW41W1){DISPLAY:BLOCK;WIDTH:100%;HEIGHT:TO;-WEBK-ALIGN-SELF:FLEX-START;-MS-FLEX-EM-ALIGN:FLEX-START;ALIGN-SELF:FLEX-START;}{WIDTH:100%;DISPLAY:-WEBK-LE-BOX;DISPLAY:-WEBK-LE-FLEX;DISPLAY:-MS-LE-FLEXBOX;DISPLAY:LE-FLEX;-WEBK-FLEX-DIRECTN:LUMN;-MS-FLEX-DIRECTN:LUMN;FLEX-DIRECTN:LUMN;MARG-LEFT:TO;MARG-RIGHT:TO;-WEBK-BOX-PACK:CENTER;-MS-FLEX-PACK:CENTER;-WEBK-JTIFY-NTENT:CENTER;JTIFY-NTENT:CENTER;}@MEDIA(M-WIDTH: 20REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 30REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 40.625REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 48REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 64REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 73.75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 75REM){{PADDG-LEFT:0REM;}}@MEDIA(M-WIDTH: 90REM){{PADDG-LEFT:0REM;}}MOVE TO ROMEPOLIL STRIFE THE AFTERMATH OF LORENZO ' MEDICI’S ATH LED MICHELANGELO TO FLEE TO BOLOGNA, WHERE HE NTUED HIS STUDY. HE RETURNED TO FLORENCE 1495 TO BEG WORK AS A SCULPTOR, MOLG HIS STYLE AFTER MASTERPIEC OF CLASSIL ANTIQUY.THERE ARE SEVERAL VERSNS OF AN TRIGUG STORY ABOUT MICHELANGELO'S FAMED "CUPID" SCULPTURE, WHICH WAS ARTIFICIALLY "AGED" TO REMBLE A RARE ANTIQUE: ONE VERSN CLAIMS THAT MICHELANGELO AGED THE STATUE TO ACHIEVE A CERTA PATA, AND ANOTHER VERSN CLAIMS THAT HIS ART ALER BURIED THE SCULPTURE (AN "AGG" METHOD) BEFORE ATTEMPTG TO PASS OFF AS AN ANTIQUE.CARDAL RIAR OF SAN GRG BOUGHT THE "CUPID" SCULPTURE, BELIEVG AS SUCH, AND MAND HIS MONEY BACK WHEN HE DISVERED HE'D BEEN DUPED. STRANGELY, THE END, RIAR WAS SO IMPRSED WH MICHELANGELO'S WORK THAT HE LET THE ARTIST KEEP THE MONEY. THE RDAL EVEN VED THE ARTIST TO ROME, WHERE MICHELANGELO WOULD LIVE AND WORK FOR THE RT OF HIS LIFE.PERSONALYTHOUGH MICHELANGELO'S BRILLIANT MD AND P TALENTS EARNED HIM THE REGARD AND PATRONAGE OF THE WEALTHY AND POWERFUL MEN OF ITALY, HE HAD HIS SHARE OF TRACTORS. HE HAD A NTENT PERSONALY AND QUICK TEMPER, WHICH LED TO ACT RELATNSHIPS, OFTEN WH HIS SUPERRS. THIS NOT ONLY GOT MICHELANGELO TO TROUBLE, CREATED A PERVASIVE DISSATISFACTN FOR THE PATER, WHO NSTANTLY STRIVED FOR PERFECTN BUT WAS UNABLE TO PROMISE.HE SOMETIM FELL TO SPELLS OF MELANCHOLY, WHICH WERE RERD MANY OF HIS LERARY WORKS: "I AM HERE GREAT DISTRS AND WH GREAT PHYSIL STRA, AND HAVE NO IENDS OF ANY KD, NOR DO I WANT THEM; AND I DO NOT HAVE ENOUGH TIME TO EAT AS MUCH AS I NEED; MY JOY AND MY SORROW/MY REPOSE ARE THE DISFORTS," HE ONCE WROTE.IN HIS YOUTH, MICHELANGELO HAD TNTED A FELLOW STUNT, AND RECEIVED A BLOW ON THE NOSE THAT DISFIGURED HIM FOR LIFE. OVER THE YEARS, HE SUFFERED CREASG FIRMI OM THE RIGORS OF HIS WORK; ONE OF HIS POEMS, HE DOCUMENTED THE TREMENDO PHYSIL STRA THAT HE ENDURED BY PATG THE SISTE CHAPEL CEILG.POLIL STRIFE HIS BELOVED FLORENCE ALSO GNAWED AT HIM, BUT HIS MOST NOTABLE ENMY WAS WH FELLOW FLORENTE ARTIST LEONARDO DA VCI, WHO WAS MORE THAN 20 YEARS HIS SENR.POETRY AND PERSONAL LIFEMICHELANGELO'S POETIC IMPULSE, WHICH HAD BEEN EXPRSED HIS SCULPTUR, PATGS AND ARCHECTURE, BEGAN TAKG LERARY FORM HIS LATER YEARS.ALTHOUGH HE NEVER MARRIED, MICHELANGELO WAS VOTED TO A P AND NOBLE WIDOW NAMED VTORIA COLONNA, THE SUBJECT AND RECIPIENT OF MANY OF HIS MORE THAN 300 POEMS AND SONS. THEIR IENDSHIP REMAED A GREAT SOLACE TO MICHELANGELO UNTIL COLONNA'S ATH 1547.SCULPTUR'PIETA'SOON AFTER MICHELANGELO'S MOVE TO ROME 1498, THE RDAL JEAN BILHèR LAGRLAS, A REPRENTATIVE OF THE FRENCH KG CHARL VIII TO THE POPE, MISSNED "PIETA," A SCULPTURE OF MARY HOLDG THE AD J ACROSS HER LAP. MICHELANGELO, WHO WAS JT 25 YEARS OLD AT THE TIME, FISHED HIS WORK LS THAN ONE YEAR, AND THE STATUE WAS ERECTED THE CHURCH OF THE RDAL'S TOMB. AT 6 FEET WI AND NEARLY AS TALL, THE STATUE HAS BEEN MOVED FIVE TIM SCE, TO S PRENT PLACE OF PROMENCE AT ST. PETER'S BASILI VATIN CY.CARVED OM A SGLE PIECE OF CARRARA MARBLE, THE FLUIDY OF THE FABRIC, POSNS OF THE SUBJECTS, AND "MOVEMENT" OF THE SK OF THE PIET — MEANG "PY" OR "PASSN" — CREATED AWE FOR S EARLY VIEWERS, AS DO EVEN TODAY. IT IS THE ONLY WORK TO BEAR MICHELANGELO’S NAME: LEGEND HAS THAT HE OVERHEARD PILGRIMS ATTRIBUTE THE WORK TO ANOTHER SCULPTOR, SO HE BOLDLY RVED HIS SIGNATURE THE SASH ACROSS MARY'S CHT. TODAY, THE "PIETA" REMAS A UNIVERSALLY REVERED WORK. 'DAVID'BETWEEN 1501 AND 1504, MICHELANGELO TOOK OVER A MISSN FOR A STATUE OF "DAVID," WHICH TWO PRR SCULPTORS HAD PREVLY ATTEMPTED AND ABANDONED, AND TURNED THE 17-FOOT PIECE OF MARBLE TO A DOMATG FIGURE. THE STRENGTH OF THE STATUE'S SEWS, VULNERABILY OF S NAKEDNS, HUMANY OF EXPRSN AND OVERALL URAGE MA THE "DAVID" A HIGHLY PRIZED REPRENTATIVE OF THE CY OF FLORENCE. ORIGALLY MISSNED FOR THE THEDRAL OF FLORENCE, THE FLORENTE ERNMENT STEAD STALLED THE STATUE ONT OF THE PALAZZO VECCH. IT NOW LIV FLORENCE’S ACMIA GALLERY.PATGSSISTE CHAPELPOPE JULI II ASKED MICHELANGELO TO SWCH OM SCULPTG TO PATG TO RATE THE CEILG OF THE SISTE CHAPEL, WHICH THE ARTIST REVEALED ON OCTOBER 31, 1512. THE PROJECT FUELED MICHELANGELO’S IMAGATN, AND THE ORIGAL PLAN FOR 12 APOSTL MORPHED TO MORE THAN 300 FIGUR ON THE CEILG OF THE SACRED SPACE. (THE WORK LATER HAD TO BE PLETELY REMOVED SOON AFTER DUE TO AN FECT FUNG THE PLASTER, THEN RECREATED.) MICHELANGELO FIRED ALL OF HIS ASSISTANTS, WHOM HE EMED EPT, AND PLETED THE 65-FOOT CEILG ALONE, SPENDG ENDLS HOURS ON HIS BACK AND GUARDG THE PROJECT JEALOLY UNTIL PLETN.THE RULTG MASTERPIECE IS A TRANSCENNT EXAMPLE OF HIGH RENAISSANCE ART RPORATG THE SYMBOLOGY, PROPHECY AND HUMANIST PRCIPL OF CHRISTIANY THAT MICHELANGELO HAD ABSORBED DURG HIS YOUTH. 'CREATN OF ADAM'THE VIVID VIGT OF MICHELANGELO'S SISTE CEILG PRODUCE A KALEIDOSPE EFFECT, WH THE MOST INIC IMAGE BEG THE "CREATN OF ADAM," A FAMO PORTRAYAL OF GOD REACHG DOWN TO TOUCH THE FGER OF MAN. RIVAL ROMAN PATER RAPHAEL EVINTLY ALTERED HIS STYLE AFTER SEEG THE WORK.'LAST JUDGMENT'MICHELANGELO UNVEILED THE SOARG "LAST JUDGMENT" ON THE FAR WALL OF THE SISTE CHAPEL 1541. THERE WAS AN IMMEDIATE OUTCRY THAT THE NU FIGUR WERE APPROPRIATE FOR SO HOLY A PLACE, AND A LETTER LLED FOR THE STCTN OF THE RENAISSANCE'S LARGT . THE PATER RETALIATED BY SERTG TO THE WORK NEW PORTRAYALS: HIS CHIEF CRIC AS A VIL AND HIMSELF AS THE FLAYED ST. BARTHOLOMEW.ARCHECTUREALTHOUGH MICHELANGELO NTUED TO SCULPT AND PAT THROUGHOUT HIS LIFE, FOLLOWG THE PHYSIL RIGOR OF PATG THE SISTE CHAPEL HE TURNED HIS FOC TOWARD ARCHECTURE. HE NTUED TO WORK ON THE TOMB OF JULI II, WHICH THE POPE HAD TERPTED FOR HIS SISTE CHAPEL MISSN, FOR THE NEXT SEVERAL S. MICHELANGELO ALSO SIGNED THE MEDICI CHAPEL AND THE LRENTIAN LIBRARY — LOTED OPPOSE THE BASILI SAN LORENZO FLORENCE — TO HOE THE MEDICI BOOK LLECTN. THE BUILDGS ARE NSIRED A TURNG POT ARCHECTURAL HISTORY. BUT MICHELANGELO'S CROWNG GLORY THIS FIELD ME WHEN HE WAS MA CHIEF ARCHECT OF ST. PETER'S BASILI 1546.WAS MICHELANGELO GAY?IN 1532, MICHELANGELO VELOPED AN ATTACHMENT TO A YOUNG NOBLEMAN, TOMMASO I CAVALIERI, AND WROTE DOZENS OF ROMANTIC SONS DITED TO CAVALIERI. DPE THIS, SCHOLARS DISPUTE WHETHER THIS WAS A PLATONIC OR A HOMOSEXUAL RELATNSHIP.DEATHMICHELANGELO DIED ON FEBARY 18, 1564 — JT WEEKS BEFORE HIS 89TH BIRTHDAY — AT HIS HOME MACEL 'CORVI, ROME, FOLLOWG A BRIEF ILLNS. A NEPHEW BORE HIS BODY BACK TO FLORENCE, WHERE HE WAS REVERED BY THE PUBLIC AS THE "FATHER AND MASTER OF ALL THE ARTS." HE WAS LAID TO RT AT THE BASILI DI SANTA CROCE — HIS CHOSEN PLACE OF BURIAL.LEGACYUNLIKE MANY ARTISTS, MICHELANGELO ACHIEVED FAME AND WEALTH DURG HIS LIFETIME. HE ALSO HAD THE PECULIAR DISTCTN OF LIVG TO SEE THE PUBLITN OF TWO BGRAPHI ABOUT HIS LIFE, WRTEN BY GRG VASARI AND ASN CONDIVI. APPRECIATN OF MICHELANGELO'S ARTISTIC MASTERY HAS ENDURED FOR CENTURI, AND HIS NAME HAS BEE SYNONYMO WH THE FT HUMANIST TRADN OF THE RENAISSANCE.WATCH "MICHELANGELO: ARTIST AND MAN" ON HISTORY {BORR:0;BORR-BOTTOM:TH SOLID BLACK;MARG:1.875REM 0;CLEAR:BOTH;}QUICK FACTS
Donatello was one of the first morn artists to be known as gay Florence, a cy where homosexualy was proment among artists and patrons alike, albe, still owned upon by certa sectors (namely, the church. ) Donatello’s stud was a homosocial environment where which, he chose apprentic om his standards of bety rather than skill.
The symbolism the piece also rells an early homoerotic alln to the eagle of Juper David’s feathered helmet-tail. Durer’s Bath Hoe explor a homosocial environment of drkg, playg mic, and flirtg that illtrat Dürer’s experienc bath ho and siar areas.
The imagery prov to be homoerotic as well placement of a phallic founta at the crotch of the male figure on the left of the image.