Michelangelo is a highly mythologized figure. This lecture begins to peel away much of the fiction that surrounds him, enabling us to approach the truth about the man, his art, and his prodigious impact on the history of art.
This lecture discusses the places and people of Michelangelo's world, establishing a "mental geography" and genealogy—in essence, a capsule history of the artist—that can serve as a framework for the course.
Why, when, and how did Michelangelo di Lodovico Buonarroti Simoni become an artist? We start by examining the family connections that gave the young Michelangelo such privileged access—first to the shop of Florentine painter Domenico Ghirlandaio and then to the household of Lorenzo de' Medici himself.
We consider how Michelangelo's two years in the privileged environment of the Medici retarded his artistic "career" but furthered his connections among the social elite who would become his patrons before introducing his first works in marble.
The death of Lorenzo de' Medici leaves Michelangelo with neither a patron nor a means of support. We follow him to Florence, where he begins his serious study of anatomy, and then to Bologna, where his work for the Sienese sculptor Jacopo della Quercia furthers his artistic maturation.
This lecture recreates Michelangelo's earliest impressions of the Eternal City—his first extensive exposure to the art of the Classical past—and introduces Cardinal Raffaelle Riario and the marble sculpture he commissions from Michelangelo, the Bacchus.
We look at the two principal works—the Bacchus and the Pietà—carved by Michelangelo during his first sojourn in Rome. These two works represent contrasting currents that consistently run through Michelangelo's art: his interest in pagan antiquity and his profound commitment to the Christian faith.
After first looking at the commission that brings about Michelangelo's return to Florence—the Piccolomini altar—we turn to the history of the David, examining what Michelangelo achieved in extracting that magnificent figure from what was considered a ruined block of marble.
We continue our discussion of the David—including the implications of the city's decision to move it from its cathedral setting to Florence's very heart, the Piazza della Signoria—before turning to his commission to carve 12 apostles, only one of which, the St. Matthew, was ever begun.
We take up one of Michelangelo's most important, although never executed, commissions, the Battle of Cascina, a giant fresco intended for the Florentine Hall of State in direct competition with a work by Leonardo da Vinci—whose own fresco was also never completed—before turning to Michelangelo's Bruges Madonna.
Between 1501 and 1507, an ambition-driven Michelangelo achieved both astonishing success and equally astonishing productivity, appearing to refuse no one. His commissions included the round compositions known as tondi, executed in both marble and paint, and we introduce three of these unique and surprising works.
We continue our examination of the Doni Tondo introduced in the previous lecture, the only painting in tempera ever created by Michelangelo and one of the greatest treasures of the Uffizi Gallery in Florence.
This lecture introduces one of Michelangelo's most steadfast patrons, Julius II, as well as the ambitious project they conceived together. The Julius Tomb would have a 40-year history; it was a project that dogged Michelangelo for much of his life.
We discuss the tumultuous relationship and rift between Michelangelo and Julius II and the monumental bronze statue of the pope he was directed to carve in penance—a prelude to the even greater penance that lay ahead: the painting of the ceiling of the Sistine Chapel in Rome.
This lecture looks at the overall organization of one of our greatest works of art. We examine the halting beginning, the earliest narratives, and the emergence of a masterpiece: the visualization of the book of Genesis for all Western Christianity.
We continue an examination of the major narratives of the ceiling's central spine—especially the Creation of Adam, Creation of the Sun and the Moon, and Separation of Light and Dark—before taking up a discussion of the ceiling's other decorations, beginning with the Prophets and Sibyls.
We conclude our discussion by looking at the Prophets and Sibyls and the well-known, but little understood male youths, or ignudi, before concluding with the lunettes and a final consideration of the Sistine Ceiling as a magnificent whole.
In looking at the three years Michelangelo devotes to an unrealized commission to create an all-marble façade for the Medici church of San Lorenzo, we follow him to the quarries themselves, examining the effort required to extract tons of marble and transport it to Florence.
With more than 300 people assisting him on two large and simultaneous Medici projects—the Medici Chapel and Laurentian Library—Michelangelo proves that he is an effective business manager as well as something of an entrepreneur.
The Medici Chapel is the first realization of Michelangelo's longstanding ambition to combine architecture, painting, and sculpture. Although the painting campaign was aborted, and the sculpture only a fraction of his original intentions, the ensemble is satisfying, complex, and one of his foremost masterpieces.
Continuing a focus on some of the difficulties of marble carving, we look at the profound challenge Michelangelo faced in carving figures essentially at eye level, with no opportunity to view them at the much higher level at which they would ultimately be placed.
While working on the Medici Chapel, Pope Clement VII asks Michelangelo to also design a library at San Lorenzo. We focus on that library, including the magnificent staircase that leads to its entrance, and briefly consider a number of simultaneous projects also undertaken during an incredibly busy period.
In a little-known episode of his life, Michelangelo devotes himself to the defense of Florentine liberty. We examine his long-lasting contribution to fortification design and military science before considering a series of sculpted and painted works undertaken after the war, including the David/Apollo marble sculpture and the painting of Leda.
This lecture considers some of the greatest of Michelangelo's unfinished works—including the four Slaves or Prisoners in the Accademia Gallery—and considers the possibility of his increasing interest in intentional incompletion: a genuine exploration of the idea of the non-finito as a new aesthetic.
We look at a remarkable series of drawings Michelangelo makes for his closest friends that will revolutionize attitudes toward drawings—making them a medium to collect and treasure—before introducing the great work that would occupy him for nearly six years: the Last Judgment.
The fresco of the Last Judgment in the Sistine Chapel is Michelangelo's first great work for Pope Paul. More than 20 years after completing the chapel's ceiling, Michelangelo again finds himself painting a monumental work at the heart of Christendom and papal authority, a vision of enormous scale and power.
The individual figures and details of the Last Judgment demonstrate Michelangelo's great inventive capacity but also reveal the unconventional nature and multiple meanings of the gigantic fresco. The work's reception was not always positive, reflecting a controversy about the number and appropriateness of the artist's nudes.
The frescos of the Conversion of Saul and the Crucifixion of Peter in the so-called Pauline Chapel, begun for Pope Paul III immediately after completing the Last Judgment, will be Michelangelo's final paintings.
This lecture brings to a close the long, convoluted history of this compromised but still magnificent monument—completed only after 40 years of delays and renegotiated contracts—and considers Michelangelo's deep friendship with Vittoria Colonna, to whom he presented some exquisite drawings and many poems.
In some ways, architecture occupied most of Michelangelo's creative energies in his last decades. This lecture begins a consideration of his many architectural contributions to Rome, including the transformation of the Capitoline Hill, or Campidoglio, before turning to one of his final sculptures, the bust Brutus.
This lecture is devoted to Christendom's finest monument and one of Michelangelo's most successful architectural achievements—the design of a new St. Peter's—undertaken in 1546 after nearly 30 years of ill-designed accretions. It would remain a constant concern for the rest of his life.
In the first of two lectures devoted to Michelangelo's architectural projects for Rome, we consider his additions and "corrections" to the Farnese Palace and his innovative drawings for the new church of the Florentine nation in Rome, San Giovanni dei Fiorentini. Although the church was never built, Michelangelo's drawings vividly demonstrate his inventive, "sculptural" conception of architectural space.
We conclude our look at Michelangelo's architectural legacy to Rome with his innovative gate to the city, the Porta Pia; his transformation of a pagan place of leisure, the partially ruined baths of Caracalla, into a Christian church; and the more modest chapel he designed for the Basilica of Santa Maria Maggiore.
We focus on a single sculpture and singular work of art: the Florentine Pietà, which Michelangelo carved to be his own grave marker. It is an intensely personal work of art, made not on commission, but for himself; an artist's last will and testament.
This lecture considers Michelangelo's final works. They include the Rondanini Pietà—which he worked on until a few days before dying—and a series of drawings of the Crucifixion, through which he revealed his most private thoughts and prayers and prepared himself for death.
In this lecture, we review Michelangelo's last two decades, summing up where his life and goals stood as he approached death, before going on to those final days and our attempt to come to grips with the meaning and legacy of this extraordinary life.