Instruct: Given a question, retrieve relevant documents that answer the question.
Query: Who was Michelangelo's teacher?
Michelangelo's father sent him to study grammar with the Renaissance humanist Francesco da Urbino in Florence as a young boy.[1] The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches and seek the company of painters.[1] At thirteen, Michelangelo was apprenticed to the painter Domenico Ghirlandaio.[2] When Michelangelo was only fourteen, his father persuaded Ghirlandaio to pay his apprentice as an artist, which was highly unusual at the time.[3] When in 1489 Lorenzo de' Medici ("Lorenzo il Magnifico), de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci.[3] Lorenzo had taken notice of Michelangelo’s unusual talent and, wishing to encourage him, proposed for Michelangelo to move into the palace and live there as his son to be educated along with the Medici children. Lorenzo even offered Michelangelo’s father Lodovico a respectable position in the palace. Michelangelo was thrown into the midst of the Medici circle where he was involved with poetry, science, philosophy, and art.
There is a wooden model of the dome, showing its outer shell as hemispherical. When Michelangelo died in 1564, the building had reached the height of the drum. The architect who succeeded Michelangelo was Giacomo della Porta. The dome, as built, has a much steeper projection than the dome of the model. It is generally presumed that it was della Porta who made this change to the design, to lessen the outward thrust. But, in fact it is unknown who it was that made this change, and it is equally possible and a stylistic likelihood that the person who decided upon the more dynamic outline was Michelangelo himself at some time during the years that he supervised the project.
Just the colossal size of the statue impressed Michelangelo's contemporaries. Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed."[23]
Vasari praised Michelangelo's seemingly infinite powers of invention in creating postures for the figures. Raphael, who was given a preview by Bramante after Michelangelo had downed his brush and stormed off to Bologna in a temper, painted at least two figures in imitation of Michelangelo's prophets, one at the church of Sant' Agostino and the other in the Vatican, his portrait of Michelangelo himself in "The School of Athens".
Michelangelo's main source of inspiration for his Adam in his "Creation of Adam" may have been a cameo showing a nude Augustus Caesar riding sidesaddle on a Capricorn. This cameo is now at Alnwick Castle, Northumberland. The cameo used to belong to cardinal Domenico Grimani who lived in Rome while Michelangelo painted the ceiling. Evidence suggests that Michelangelo and Grimani were friends. This cameo offers an alternative theory for those scholars who have been dissatisfied with the theory that Michelangelo was mainly inspired by Lorenzo Ghiberti's Adam in his "Creation of Adam".
Michelangelo Cerquozzi, known as Michelangelo delle Battaglie (12 February 1602 – 6 April 1660) was an Italian Baroque painter known for his genre scenes, battle pictures, small religious and mythological works and still lifes. His genre scenes were influenced by the work of the Flemish and Dutch genre artists referred to as the Bamboccianti active in Rome who created small cabinet paintings and prints of the everyday life of the lower classes in Rome and its countryside. One of the leading battle painters active in Italy in the first half of the 17th century, Michelangelo Cerquozzi earned the nickname 'Michelangelo delle Battaglie' ('Michelangelo of the Battles').
Ghirlandaio is credited as the teacher of Michelangelo. Francesco Granacci is another among his pupils. According to Vasari, these two were sent by Ghirlandaio to the Medici Academy, when Lorenzo de' Medici requested his two best pupils. Although Michelangelo regarded himself primarily as a sculptor, in the 16th century he was to follow his master as a painter of frescos, at the Sistine Chapel.
Barocci quotes from Raphael's "School of Athens" by inserting the portrait of Heraclitus, which many believe is a portrait of Michelangelo. Significantly, he depicts Judas Iscariot using Michelangelo's portrait. To an audience familiar with this association, this would have been taken as particularly strong commentary on the status of the Michelangelo. Furthermore, by directly quoting from Raphael, who was Michelangelo's antithesis and favoured by the Clementine church, Barocci, and by implication Pope Clement VIII, inserted a comment on the relative status of the two artists within the church of the time.
The preparation of the wall led to the end of more than twenty years of friendship between Michelangelo and Sebastiano del Piombo, who tried to persuade the Pope and Michelangelo to do the painting in his preferred technique of oil on plaster, and managed to get the smooth plaster finish needed for this applied. It is possible that around this stage the idea was floated that Sebastiano would do the actual painting, to Michelangelo's designs, as they had collaborated nearly 20 years earlier. After, according to Vasari, some months of passivity, Michelangelo furiously insisted that it should be in fresco, and had the wall re-plastered in the rough "arriccio" needed as a base for fresco. It was on this occasion that he famously said that oil painting was "an art for women and for leisurely and idle people like Fra Sebastiano".
During the years following the capitulation of Florence, Michelangelo remained in contact with some of the former leaders of the Republic, men who championed the liberty of the city-state and opposed Medician tyranny. De Tolnay believes that one of these men, namely Donato Giannotti, inspired the bust of Brutus. "The Bust is important for understanding [Michelangelo] Buonarroti’s political views," De Tolnay states. “Michelangelo’s conception of Brutus is clearly expressed in this bust: It represents heroic scorn for those who would destroy liberty.” Contemporaries may have connected the sculpture with the assassination of Alessandro de' Medici, Duke of Florence, by Lorenzino de' Medici in 1537.
Johannes Wilde, another lifetime Michelangelo scholar, also sees the Brutus as a “glorification of liberty from tyranny.” Wilde suggests the sculpture remained unfinished.
Three centuries after the fresco was painted, Cosimo III de' Medici, in line with contemporary ideas of decorum, ordered that fig leaves be added to conceal the genitals of the figures. These were eventually removed in the 1980s when the painting was fully restored and cleaned.
Masaccio provided a large inspiration to the more famous Renaissance painter Michelangelo, due to the fact that Michelangelo's teacher, Domenico Ghirlandaio, looked almost exclusively to him for inspiration for his religious scenes. Ghirlandaio also imitated various designs done by Masaccio. This influence is most visible in Michelangelo's "The Fall of Man and the Expulsion from the Garden of Eden" on the ceiling of the Sistine Chapel.
Michelangelo Canale (born November 17, 1971) is an American dancer, teacher, choreographer and artistic director of ballet.
Michelangelo, with Leonardo da Vinci and Raphael, is one of the three giants of the Florentine High Renaissance. Although their names are often cited together, Michelangelo was younger than Leonardo by 23 years, and older than Raphael by eight. Because of his reclusive nature, he had little to do with either artist and outlived both of them by more than forty years. Michelangelo took few sculpture students. He employed Francesco Granacci, who was his fellow pupil at the Medici Academy, and became one of several assistants on the Sistine Chapel ceiling.[39] Michelangelo appears to have used assistants mainly for the more manual tasks of preparing surfaces and grinding colours. Despite this, his works were to have a great influence on painters, sculptors and architects for many generations to come.
Michelangelo carved the "Brutus" a few years after the defeat of the Republic of Florence (1527–1531). As a supporter of the Florentine Republic who designed and supervised the remodeling and construction of its fortifications, Michelangelo was a strong opponent of tyranny.
As supporters to the smaller scenes, Michelangelo painted twenty youths who have variously been interpreted as angels, as muses, or simply as decoration. Michelangelo referred to them as "ignudi".[80] The figure reproduced may be seen in context in the above image of the Separation of Light from Darkness. In the process of painting the ceiling, Michelangelo made studies for different figures, of which some, such as that for The Libyan Sibyl have survived, demonstrating the care taken by Michelangelo in details such as the hands and feet.[81] The Prophet Jeremiah, contemplating the downfall of Jerusalem, is an image of the artist himself.
In 1542, Michelangelo met Cecchino dei Bracci who died only a year later, inspiring Michelangelo to write forty-eight funeral epigrams. Some of the objects of Michelangelo's affections, and subjects of his poetry, took advantage of him: the model Febo di Poggio asked for money in response to a love-poem, and a second model, Gherardo Perini, stole from him shamelessly.[66]
The Michelangelo virus is a computer virus first discovered on 4 February 1991 in Australia. The virus was designed to infect DOS systems, but did not engage the operating system or make any OS calls. Michelangelo, like all boot sector viruses, basically operated at the BIOS level. Each year, the virus remained dormant until March 6, the birthday of Renaissance artist Michelangelo. There is no reference to the artist in the virus, and it is doubtful that the virus writer intended Michelangelo to be referenced to the virus. The name was chosen by researchers who noticed the coincidence of the activation date. The actual significance of the date to the author is unknown. Michelangelo is a variant of the already endemic Stoned virus.
Vasari noted that Michelangelo began to work on the sculpture around the age of 72. Without commission, Michelangelo worked tirelessly into the night with just a single candle to illuminate his work. Vasari wrote that he began to work on this sculpture to amuse his mind and to keep his body healthy. After 8 years of working on it, Michelangelo would go on and attempt to destroy the work in a fit of frustration. This marked the end of Michelangelo's work on the sculptural group, which found itself in the hands of Francesco Bandini, who hired an apprentice sculptor, by the name of Tiberio Calcagni, to restore the work to its current composition. The left leg of Christ is missing. Since its inception, the sculpture has been plagued by ambiguities and never ending interpretations, with no straightforward answers available.
The young Michelangelo was one of the many artists who received his artistic training by copying Masaccio's work in the chapel. The chapel was also the site of an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented Michelangelo's critical remarks about his draughtsmanship. He punched the artist so severely that he "crushed his nose like a biscuit" (according to Benvenuto Cellini) which deformed Michelangelo's face into that of a boxer's.
Vasari praised Michelangelo's seemingly infinite powers of invention in creating postures for the figures. Raphael, who was given a preview by Bramante after Michelangelo had downed his brush and stormed off to Bologna in a temper, painted at least two figures in imitation of Michelangelo's prophets, one at the church of Sant' Agostino and the other in the Vatican, his portrait of Michelangelo himself in "The School of Athens".
In 1554, at age twenty-two, Anguissola traveled to Rome, where she spent her time sketching various scenes and people. While in Rome, she was introduced to Michelangelo by another painter who was familiar with her work. Sofonisba initially showed Michelangelo a drawing of laughing girl, but the painter challenged her to draw a weeping boy, a subject which he felt would be more challenging. When Michelangelo made a request for her to draw a weeping boy, Anguissola drew "Boy Bitten by a Crayfish" and sent it back to Michelangelo, who immediately recognized her talent. Michelangelo subsequently gave Anguissola sketches from his notebooks to draw in her own style and offered advice on the results. For at least two years, Anguissola continued this informal study, receiving substantial guidance from Michelangelo.
In 1496, Michelangelo made a sleeping cupid figure and treated it with acidic earth to make it seem ancient. He then sold it to a dealer, Baldassare del Milanese, who in turn sold it to Cardinal Riario of San Giorgio who later learned of the fraud and demanded his money back. However, Michelangelo was permitted to keep his share of the money. When Michelangelo offered to take the sculpture back from Baldassarre, the latter refused, saying he would rather destroy it.
Luigi del Riccio was an acquaintance of Michelangelo who was deeply hurt by the death of his nephew Cecchino Bracci. He gave Michelangelo many gifts so that Michelangelo would keep writing him epitaphs.
During Michelangelo's childhood, a team of painters had been called from Florence to the Vatican to decorate the walls of the Sistine Chapel. Among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing and portraiture who had the largest workshop in Florence.[12] In 1488, at age 13, Michelangelo was apprenticed to Ghirlandaio.[16] The next year, his father persuaded Ghirlandaio to pay Michelangelo as an artist, which was rare for someone of fourteen.[17] When in 1489, Lorenzo de' Medici, de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci.[18]
Strafella was an apprentice of Michelangelo, who's style and skill could not only match his teacher and Raphael, but also the ancient Greek painters Apelles and Zeuxis. Strafella learned from the works of Michelangelo to use perspective to better depict reality, he put this technique to full use in his paintings. The art critic Cosimo De Giorgi in 1882 defines him as "one of the few truly eminent painters of Terra di Otranto."