Precious akaya
10/11/2015
Early life
For my research paper, I've chosen the early life and work of Renaissance artist Michelangelo di Buonarrotto. I choose him because he played such an enormous part in art history in the age of the Renaissance. The Renaissance, (the rebirth), was a time that artists expanded their horizon, studied and invented new ways of painting that brought significant change to the art world. Also, this time period connects the end of the Middle Ages to the beginning of the Modern Age. (Site)
In this paper, I'm focusing mainly on the artwork of Michelangelo, but I can't do that without mentioning hi early life and how he evolved to become one of the greatest Renaissance artists that ever lived. He was a master …show more content…
Seeing this, he allowed Michelangelo to start an apprenticeship under Domenico Ghirlando to learn more about art (site).
After a year at the workshop, Ghirlandaio recommended that he move in with Florentine ruler Lorenzo the Magnificent. to study classical sculpture in the Medici gardens. Lorenzo was a member of the powerful Medici family. This was an exciting time for Michelangelo. The years he spent with the Medici family helped him grow as an artist, it gave him the opportunity to meet respected sculptors as well as poets, scholars and lots of powerful artists that were well known. He also obtained special permission from the Catholic Church to study anatomy of the dead which exposed him to many health problems.
Michelangelo's artwork is still seen at magnificent. Much of his artworks is still in Rome. It is because of Michelangelo's passion for the arts that led him to create and define an age of artistic expression (Site). Even today Michelangelo is known as a supreme Renaissance artist (Site). Michelangelo left his signature of being one of the most significant figures of the Renaissance (Site). …show more content…
He started to develop a new style of architecture which does not align with the Renaissance standards about architecture.( www.radford.edu) In particular, he begins to introduce the idea of architecture as an embodying movement. Although we only see hints of this in the statue of David, we see the hint of something which will become increasingly important to Michelangelo and will most certainly be felt in his architecture -- a quality which signals the beginning of a change away from the ideals of Renaissance and classical art to a new type of art. In Michelangelo, this quality is a sense of movement and power, rather than beauty, as the new ideal. Movement and power result in a sense of incomplete form, even formlessness, as the forms of perfect anatomy are denied. For Michelangelo, this incomplete form or formlessness was the sign of the organic quality of the living thing. In fact, for Michelangelo the forces of the building could be understood as the muscles of the human body. The parts of the building would fit together and function in much the same way as the parts of the human being because the building would live and breathe just as a living organism