Instruct: Given a question, retrieve passages that can help answer the question.
Query: What years did Michelangelo live?
Michelangelo di Lodovico Buonarroti Simoni or more commonly known by his first name Michelangelo (/ˌmaɪkəlˈændʒəloʊ/; Italian:[mikeˈlandʒelo di lodoˈviːko ˌbwɔnarˈrɔːti siˈmoːni]; 6 March 1475– 18 February 1564) was an Italian sculptor, painter, architect and poet of the High Renaissance born in the Republic of Florence, who exerted an unparalleled influence on the development of Western art. Considered by many the greatest artist of his lifetime, and by some the greatest artist of all time, his artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival, the fellow Florentine and client of the Medici, Leonardo da Vinci.[1]
The main sources for his personality and habits are Vasari and surviving letters, mostly to and from Michelangelo. Vasari knew Sebastiano, but probably not very well; although he had been compiling material for some time, the first edition of his "Lives" did not appear until 1550, after Sebastiano's death, and it is not clear if he had specifically discussed the biography with Sebastiano. He knew Michelangelo rather better, and his description of Sebastiano is probably heavily influenced by the hostile attitude Michelangelo had towards Sebastiano after 1534. Vasari takes up much of his "Life" bemoaning Sebastiano's supposed indolence and neglect of his artistic talent for a comfortable and convivial life, at least after 1531.
By the time El Greco arrived in Rome, Michelangelo and Raphael were dead, but their example continued to be paramount, and somewhat overwhelming for young painters. El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style. He singled out Correggio and Parmigianino for particular praise, but he did not hesitate to dismiss Michelangelo's "Last Judgment" in the Sistine Chapel; he extended an offer to Pope Pius V to paint over the whole work in accord with the new and stricter Catholic thinking. When he was later asked what he thought about Michelangelo, El Greco replied that "he was a good man, but he did not know how to paint". And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but he had found it impossible to withstand his influence. Michelangelo's influence can be seen in later El Greco works such as the "Allegory of the Holy League". By painting portraits of Michelangelo, Titian, Clovio and, presumably, Raphael in one of his works ("The Purification of the Temple"), El Greco not only expressed his gratitude but also advanced the claim to rival these masters. As his own commentaries indicate, El Greco viewed Titian, Michelangelo and Raphael as models to emulate. In his 17th century "Chronicles", Giulio Mancini included El Greco among the painters who had initiated, in various ways, a re-evaluation of Michelangelo's teachings.
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.
The bearded figure of St. Bartholomew holding the skin was sometimes thought to have the features of Aretino, but open conflict between Michelangelo and Aretino did not occur until 1545, several years after the fresco's completion.
Coonin, A. Victor, From Marble to Flesh: The Biography of Michelangelo’s David, Florence: The Florentine Press, 2014. ISBN9788897696025. Hall, James, Michelangelo and the Reinvention of the Human Body New York: Farrar, Straus and Giroux, 2005. Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams Books,1982. Hibbard, Howard. Michelangelo, New York: Harper & Row, 1974. Hirst Michael, “Michelangelo In Florence: David In 1503 and Hercules In 1506,” The Burlington Magazine, 142 (2000): 487–492. Hughes, Anthony, Michelangelo, London: Phaidon Press, 1997. Levine, Saul, "The Location of Michelangelo's David: The Meeting of January 25, 1504", The Art Bulletin, 56 (1974): 31–49. Pope-Hennessy, John, Italian High Renaissance and Baroque Sculpture. London: Phaidon, 1996. Seymour, Charles, Jr. Michelangelo's David: a search for identity (Mellon Studies in the Humanities), Pittsburgh: University of Pittsburgh Press, 1967. Vasari, Giorgio, The Lives of the Artists (Penguin Books), “Life of Michelangelo”, pp.325–442.
The Binsley Ford estate sold a drawing of what became Michelangelo's "Cristo della Minerva" statue, through Christie's, to a German art dealer for $12,378,500. The drawing, purchased by Ford in 1936, was used as inspiration for the statue located at the Church of Santa Maria sopra Minerva in Rome that was commissioned in 1514. It was sold for nearly $5 million more than the previous price paid for a Michelangelo work, the "Woman of Camaria" in 1998. In 1936, Ford was criticised for spending about 3,000 guineas for a drawing of Michelangelo's; his aunt felt it was extravagant since he paid about what it would cost for a home at that time. That story was often one of the tidbits that Ford shared on his tours with visitors.
The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of the lunettes convinced the restorers that Michelangelo worked exclusively in "buon fresco"; that is, the artist worked only on freshly laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words, Michelangelo did not work "a secco"; he did not come back later and add details onto the dry plaster.
María Guadalupe "Lupita" Menchaca Martínez is a beautiful young woman, single mother, who lives with her son and the rest of her family (father, brother, and sister) in a typical middle class neighborhood in Mexico City. Miguel Ángel Ruizpalacios Romagnoli is a perfect exponent of the upper class. He is a Millionaire and has no problem in sight. He lives on rumba, gambling and women and it does not matter what happens to the company of which he is president by inheritance. Lupita and Michelangelo do not know each other and seemingly have nothing in common. Their worlds are different, their social classes do not cross and their personalities have little to do with each other. However, destiny is responsible for crossing them so unexpectedly.
Victim of a trap of his cousin Alejo, who wants to stay with the president of it occupies, Michelangelo is accused of using the company's money to launder assets and a current account incoming non-holy moneys. Michelangelo is not only wanted by the police but also from one day to the next, all the accounts closed, his assets seized and if he does not appear, they are considered fugitives from justice.
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.
As described above, he had become close to Michelangelo by about 1515. Though they eventually fell out, few people were able to remain on good terms with Michelangelo for a period of nearly twenty years. In 1519 Michelangelo became godfather to Sebastiano's first son, Luciano, after which Sebastiano addressed his letters to "My dearest "compare"" ("godfather"). The relationship suffered a dip in 1520 when Sebastiano asked Michelangelo to write to Cardinal Bibbiena, a close friend of Pope Leo X, recommending Sebastiano for projects in the Vatican after Raphael's death. Michelangelo sent the letter a month or so later, which Sebastiano presented to the cardinal, without reading it. The letter was in very flippant terms, and Sebastianio complained that it became "practically the only topic of conversation at the Palace, and it makes everyone laugh". Nor did it work in getting Vatican commissions.
Michelangelo became acquainted with Vittoria Colonna around 1538. Their lively friendship gained Michelangelo admission to her social circles, and he became acquainted with issues of church reform. For Colonna, Michelangelo executed several paintings in the fifth decade of the sixteenth century. All of them are now lost or of controversial attribution, but several sketches and copies by students and admirers of Michelangelo have been preserved.
The Agony and the Ecstasy (1961) is a biographical novel of Michelangelo Buonarroti written by American author Irving Stone. Stone lived in Italy for years visiting many of the locations in Rome and Florence, worked in marble quarries, and apprenticed himself to a marble sculptor. A primary source for the novel is Michelangelo's correspondence, all 495 letters of which Stone had translated from Italian by Charles Speroni and published in 1962 as "I, Michelangelo, Sculptor". Stone also collaborated with Canadian sculptor Stanley Lewis, who researched Michelangelo's carving technique and tools. The Italian government lauded Stone with several honorary awards for his cultural achievements highlighting Italian history.
The Madonna of the Stairs (or Madonna of the Steps) is a relief sculpture by Michelangelo in the Casa Buonarroti, Florence. It was sculpted around 1491, when Michelangelo was about seventeen. This and the "Battle of the Centaurs" were Michelangelo's first two sculptures. The first reference to the "Madonna of the Stairs" as a work by Michelangelo was in the 1568 edition of Giorgio Vasari's "Lives of the Most Excellent Painters, Sculptors, and Architects".
With Leonardo da Vinci and Michelangelo, Raphael's name is synonymous with the High Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost 30. It cannot be said of him that he greatly advanced the state of painting as his two famous contemporaries did. Rather, his work was the culmination of all the developments of the High Renaissance.
With Leonardo da Vinci and Michelangelo, Raphael's (1483-1520) name is synonymous with the High Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost 30 and died at the age of 37 just one year after Leonardo. It cannot be said that he greatly advanced the state of painting as his two famous contemporaries did. Rather, his work was the culmination of all the developments of the High Renaissance.
Lorenzo's court included artists such as Piero and Antonio del Pollaiuolo, Andrea del Verrocchio, Leonardo da Vinci, Sandro Botticelli, Domenico Ghirlandaio and Michelangelo Buonarroti, who were instrumental in achieving the 15th-century Renaissance. Although Lorenzo did not commission many works himself, he helped these artists to secure commissions from other patrons. Michelangelo lived with Lorenzo and his family for three years, dining at the family table and participating in discussions led by Marsilio Ficino.
Michelangelo never completed the painting, but did produce a complete cartoon of the composition. The cartoon was copied by several artists, the most notable extant copy being by Michelangelo's pupil Sangallo. Some of Michelangelo's preparatory drawings also survive, along with prints of part of the scene by Marcantonio Raimondi. According to Michelangelo's biographer Giorgio Vasari the original cartoon was deliberately destroyed by Michelangelo's rival Bartolommeo Bandinelli because of his jealousy of its fame.
Although usually named together as the three giants of the High Renaissance, Leonardo, Michelangelo and Raphael were not of the same generation. Leonardo was twenty-three when Michelangelo was born and thirty-one when Raphael was born. Raphael lived until the age of only 37 and died in 1520, the year after Leonardo died, but Michelangelo went on creating for another 45 years.
The drawings that Michelangelo created for Tommaso Cavalieri were complete and finished works of art. The first set of drawings that Michelangelo made for Cavalieri were given in the same year that the two met in 1532. This grouping is made up of the drawings Tityus and Ganymede. Due to the nature of Michelangelo’s feeling for Cavalieri revealed in their correspondence, scholars have interpreted the two drawings in this grouping to have homoerotic undertones. For example, the character of Tityus from mythology tried to rape Leto, Apollo’s mother. For his punishment, Tityus was chained to a rock in Hades so that two vultures could eternally peck out his liver. In this framework, the drawing could be interpreted as a representation of pining and a love that will never be realized. Since the liver is continuously pecked out only to grow back again for all of eternity and the liver is often referred to as the “seat of the passions,” the scene could refer to Michelangelo’s unrequited love for Cavalieri.
A similar homoerotic interpretation could be made for the Ganymede drawing as well. In mythology, Ganymede was a cupbearer for Zeus. Zeus fell into such lust for the young cupbearer that he took on the form of an eagle to sweep Ganymede off to Mt. Olympus to be with him. In this context, Ganymede could represent the young Cavalieri and the eagle could represent the mature and overpowering Michelangelo. The scene could be a visual representation of Michelangelo’s physical desire for Cavalieri.
It would make sense that Michelangelo would use such drawings, sonnets and letters to profess his affections because of the social stigma attached to homosexuality. Even though Florence did have a prevalent homosexual community, Michelangelo’s faith would not allow him to be open about his feeling for the young nobleman. Also, Michelangelo had been accused numerous times of having affairs with other young men. The homoerotic drawings could have been a way for Michelangelo to express his feelings out of the public eye and away from gossip.
Several months after Michelangelo's birth, the family returned to Florence, where he was raised. During his mother's later prolonged illness, and after her death in 1481 (when he was six years old), Michelangelo lived with a nanny and her husband, a stonecutter, in the town of Settignano, where his father owned a marble quarry and a small farm.[8] There he gained his love for marble. As Giorgio Vasari quotes him:
Each of these theories are plausible and even more plausible than that, all of the reasons could have worked together to create a climactic realization of the poor timing Michelangelo had in composing the sculpture the way he did. No matter what the final straw was, the attempted destruction marked the end of Michelangelo's involvement with it. The work was then given away as a gift to one of Michelangelo's servants and was eventually sold to Francesco Bandini.
You know what the fellow said – in Italy, for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock.
To be able to reach the ceiling, Michelangelo needed a support; the first idea was by Julius' favoured architect Donato Bramante, who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold. Michelangelo laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer.
Even though the work had progressed only a little in 40 years, Michelangelo did not simply dismiss the ideas of the previous architects. He drew on them in developing a grand vision. Above all, Michelangelo recognized the essential quality of Bramante's original design. He reverted to the Greek Cross and, as Helen Gardner expresses it: "Without destroying the centralising features of Bramante's plan, Michelangelo, with a few strokes of the pen converted its snowflake complexity into massive, cohesive unity."