A Renaissance master's last years
Today I went to the British Museum in London to see their exhibition Michelangelo: The Last Decades. Yesterday evening I watched a lecture about the exhibition presented by the curator which helped put the items on display into context. There were preparatory sketches by Michaelangelo, portraits by his friends and contemporaries, letters in his amazing handwriting, collaborative works and more.
Michelangelo Buonarroti was born in 1475 and died just before his 89th birthday after a long and prolific career as an artist, architect and writer (he was overseeing many projects and still being commissioned right up until his death). The exhibition focuses on the last three decades of his life when he moved from Florence to Rome in 1534 at nearly 60 years old. It also looked at the relationships that influenced his life during this time.
You are greeted by this lovely preparatory sketch of Michelangelo by his friend Daniele da Voltarra when he was in his seventies. This is a study for Voltarra's The Assumption of the Virgin in Santissima Trinità dei Monti, Rome (he is pictured as one of the witnesses). More photos under the cut of things that caught my eye.
As usual, there were odd reflections from other displays in the exhibition, which limited some of the photos I took, and some have some lighting reflections, but I think are still worth sharing.
Michelangelo moved to Rome with his household as he was summoned to paint The Last Judgment (the huge fresco on the altar wall of the Sistine Chapel). He felt increasingly unsafe in his native Florence because he'd supported the Republicans who had overthrown the Medici family and they had returned to power. Studies for the fresco:
I love how Michelangelo didn't waste paper - these heads are on the back of the preparatory sketch
Close up
Study for the Fall of Phaeton. At this point, Michelangelo had become close friends with the nobleman Tommaso de' Cavalieri and this was a commission from him. Tommaso was often sent the drawings with a note at the bottom - the previous version had this note: "Messer Tommaso, if you do not like this sketch then do tell Urbino (M's assistant), so that I have time to make another one tomorrow evening as I promised you. And if you are happy with it and want me to finish it, send it back to me."
This is the final version:
More Last Judgement studies
Vittoria Colonna was another influential friend of Michelangelo's. She was a poet and a member of the spirituali - an elite group of religious reformers. They often exchanged letters and he created artistic compositions for her.
One of the preparatory sketches for a piece for Vittoria. Christ on the Cross.
Studies of The Virgin and St John - for The Crucifixion.
Michelangelo collaborated with Marcello Venusti throughout the 1540s/50s and he painted this final version of The Crucifixion. This is the finest surviving version produced as a devotional painting for Vittoria. This one can be traced back to the family of Tommaso de' Cavalieri, and may have been commissioned by him.
Some of the most interesting letters in the exhibition were between Michelangelo and his nephew Léonardo. Michaelangelo was very fond of his nephew and this comes across in this letter regarding his marriage prospects:
"About your taking a wife - which is necessary - I've nothing to say to you, except that you should not be particular as to the dowry, because possessions are of less value than people. All you need have an eye to is birth, good health, and, above all, a nice disposition. As regards beauty, not being, after all, the most handsome youth in Florence yourself, you need not bother overmuch, provided she is neither deformed or ill-favoured".
Studies for The Annunciation -
Marcello Venusti's final version using the sketches
Studies for The Cleansing of the Temple
Venusti's finished work:
For Michelangelo's Epifania, twenty-six sheets of paper have been joined together, onto which the full-sized design (or cartoon) has been sketched. This would have been used to transfer the design onto another surface such as a wall for a fresco. This was never used, but amazingly still survives (it's HUGE).
He gave it to his pupil Ascanio Cordivi who developed the design into an equally large painting.
Study for the 'Warwich' Pietà.
Some of Michelangelo's poetry reflects his longing to turn away from worldly things to prepare for the life to come.
"The voyage of my life, at last, has reached across a stormy sea, in a fragile boat, the common port of all must pass through to vie an accounting for every evil and pious deed.
So now I recognise how laden with error was the affectionate fantasy that made art an idol and sovereign to me, like all things men want in spite of their best interests.
What will become of all my thoughts of love, once gay and foolish, now that I'm nearing two deaths? I'm certain of one, and the other looms over me.
Neither painting nor sculpture will be able any longer to calm my soul, now turned towards that divine love that opened his arms on the cross to take us in."
The last letter he wrote to his nephew Léonardo thanking him for sending him some cheeses and reflecting on his failing health. "...Having received several letters from you recently, I have not been able to reply because my hand no longer serves me; so, from now on, I'll get others to write and I'll sign." I still think his handwriting is remarkable for an 88 year old using pen and ink! Sadly he died not long after this.
Michelangelo was buried in his native Florence by his nephew Léonard close to the Buonarroti family home. It was a fascinating insight into his last three decades and amazing how much he was still in demand and working into his latter years. I'm very pleased I visited.
Michelangelo Buonarroti was born in 1475 and died just before his 89th birthday after a long and prolific career as an artist, architect and writer (he was overseeing many projects and still being commissioned right up until his death). The exhibition focuses on the last three decades of his life when he moved from Florence to Rome in 1534 at nearly 60 years old. It also looked at the relationships that influenced his life during this time.
You are greeted by this lovely preparatory sketch of Michelangelo by his friend Daniele da Voltarra when he was in his seventies. This is a study for Voltarra's The Assumption of the Virgin in Santissima Trinità dei Monti, Rome (he is pictured as one of the witnesses). More photos under the cut of things that caught my eye.
As usual, there were odd reflections from other displays in the exhibition, which limited some of the photos I took, and some have some lighting reflections, but I think are still worth sharing.
Michelangelo moved to Rome with his household as he was summoned to paint The Last Judgment (the huge fresco on the altar wall of the Sistine Chapel). He felt increasingly unsafe in his native Florence because he'd supported the Republicans who had overthrown the Medici family and they had returned to power. Studies for the fresco:
I love how Michelangelo didn't waste paper - these heads are on the back of the preparatory sketch
Close up
Study for the Fall of Phaeton. At this point, Michelangelo had become close friends with the nobleman Tommaso de' Cavalieri and this was a commission from him. Tommaso was often sent the drawings with a note at the bottom - the previous version had this note: "Messer Tommaso, if you do not like this sketch then do tell Urbino (M's assistant), so that I have time to make another one tomorrow evening as I promised you. And if you are happy with it and want me to finish it, send it back to me."
This is the final version:
More Last Judgement studies
Vittoria Colonna was another influential friend of Michelangelo's. She was a poet and a member of the spirituali - an elite group of religious reformers. They often exchanged letters and he created artistic compositions for her.
One of the preparatory sketches for a piece for Vittoria. Christ on the Cross.
Studies of The Virgin and St John - for The Crucifixion.
Michelangelo collaborated with Marcello Venusti throughout the 1540s/50s and he painted this final version of The Crucifixion. This is the finest surviving version produced as a devotional painting for Vittoria. This one can be traced back to the family of Tommaso de' Cavalieri, and may have been commissioned by him.
Some of the most interesting letters in the exhibition were between Michelangelo and his nephew Léonardo. Michaelangelo was very fond of his nephew and this comes across in this letter regarding his marriage prospects:
"About your taking a wife - which is necessary - I've nothing to say to you, except that you should not be particular as to the dowry, because possessions are of less value than people. All you need have an eye to is birth, good health, and, above all, a nice disposition. As regards beauty, not being, after all, the most handsome youth in Florence yourself, you need not bother overmuch, provided she is neither deformed or ill-favoured".
Studies for The Annunciation -
Marcello Venusti's final version using the sketches
Studies for The Cleansing of the Temple
Venusti's finished work:
For Michelangelo's Epifania, twenty-six sheets of paper have been joined together, onto which the full-sized design (or cartoon) has been sketched. This would have been used to transfer the design onto another surface such as a wall for a fresco. This was never used, but amazingly still survives (it's HUGE).
He gave it to his pupil Ascanio Cordivi who developed the design into an equally large painting.
Study for the 'Warwich' Pietà.
Some of Michelangelo's poetry reflects his longing to turn away from worldly things to prepare for the life to come.
"The voyage of my life, at last, has reached across a stormy sea, in a fragile boat, the common port of all must pass through to vie an accounting for every evil and pious deed.
So now I recognise how laden with error was the affectionate fantasy that made art an idol and sovereign to me, like all things men want in spite of their best interests.
What will become of all my thoughts of love, once gay and foolish, now that I'm nearing two deaths? I'm certain of one, and the other looms over me.
Neither painting nor sculpture will be able any longer to calm my soul, now turned towards that divine love that opened his arms on the cross to take us in."
The last letter he wrote to his nephew Léonardo thanking him for sending him some cheeses and reflecting on his failing health. "...Having received several letters from you recently, I have not been able to reply because my hand no longer serves me; so, from now on, I'll get others to write and I'll sign." I still think his handwriting is remarkable for an 88 year old using pen and ink! Sadly he died not long after this.
Michelangelo was buried in his native Florence by his nephew Léonard close to the Buonarroti family home. It was a fascinating insight into his last three decades and amazing how much he was still in demand and working into his latter years. I'm very pleased I visited.