![]() ![]() The varieties of finish suggest that Michelangelo may have intended to work up the drawing further (Goldscheider considers it `not quite finished`). The sheet is large (although with some drawing perhaps trimmed away at the top) and contains no other drawings. of Christ have their outlines thickened and form a compositional counter to Christ - the curve of the standing soldier (nude except for his shield) balancing that of Christ. ![]() Of the others, the group of two to the r. His floating form is framed by the oval mouth of the cave behind.Ĭhrist`s gracefully rising figure is in contrast to the startled, crouching and running figures of the soldiers drawn to a much smaller scale (and with which W51 may be linked), some of which are only summarily indicated such as that lying on the lid of the sarcophagus before Christ. to l.), its folds surrounding but not impinging upon the contours of Christ`s body. The shroud twists down to the sarcophagus (the direction of its curve changed from r. The outlines of Christ`s rising and resurrected body have been strengthened with the moistened point of the chalk and is in contrast to the subtlety graded modelling within - achieved by Michelangelo`s rubbing the chalk with his finger (de Tolnay 1948). and the crossing of his arms as if bound. The compositional axis of Christ`s ascending figure is countered by the turn of his head to the l. from a low sarcophagus seen from a low viewpoint. Christ is nude and rises diagonally to the r. 52 in Wilde`s catalogue of Michelangelo`s drawings in the British Museum (1953 - see bibliography below) and is henceforth referred to as W52. Saslow, "thus offered consoling testimony to their shared conviction that the savior’s tragic death is also a cause for joy, the climax of God’s divine comedy that offers each believing soul the hope of a happy ending.Curator's comments Watermark: Cardinal's hat "Michelangelo’s gift", according to James M. Both belonged to Roman groups that focused on achieving salvation by faith through prayerful contemplation of sacred history, as does their poetry of this period. The quote reflects Michelangelo's and Colonna's religious convictions. In this verse from canto 29 of the Paradiso, Beatrice deplores the lack of appreciation for the martyrs' sacrifices. Above the two stands a beam, the Cross, on which is inscribed, vertically, a quotation by Dante: Non vi si pensa quanto sangue costa – "There they don't think of how much blood it costs". Mary's gesture balances the forceful vertical lines of Jesus' body, which lies on a rock. ![]() The dead Jesus is cradled between the grieving Mary's legs, who raises her arms to heaven as two angels also raise Christ's arms at right angles. The theme of the Pietà, so dear to the sculptor Michelangelo, is addressed in a highly emotional composition, as in the Crucifixion for Colonna. According to Kristina Herrmann Fiore, a curator at the Borghese Gallery in Rome, the painting's underdrawing is conceivably by the hand of Michelangelo, whereas Alexander Nagel, a professor at New York University Institute of Fine Arts believes that the painting is merely a copy of a composition by Michelangelo. This attribution is not yet widely shared. In a 2011 book, The Lost Michelangelos, Forcellino expresses the opinion that the painting is Michelangelo's. in 1883 and had hung over the fireplace of a middle-class family home until the 1970s. In 2007, the Milanese restaurator and art historian Antonio Forcellino announced that an oil painting of the same subject had been discovered in a private home in Rochester, New York. It has at any rate proved influential: There are several copies by students of lesser skill in Florence and Rome, a reworking by Ludovico Buti and an adaptation by Lavinia Fontana. It is not certain that this work was painted by Michelangelo, but it is described by Ascanio Condivi. All of them are now lost or of controversial attribution, but several sketches and copies by students and admirers of Michelangelo have been preserved.Īpart from a famous Crucifixion, Michelangelo's most notable work for Vittoria Colonna is a Pietà, of which a remarkable drawing is exhibited at Boston. For Colonna, Michelangelo executed several paintings in the fifth decade of the sixteenth century. Their lively friendship gained Michelangelo admission to her social circles, and he became acquainted with issues of church reform. Michelangelo became acquainted with Vittoria Colonna around 1538. The Pietà for Vittoria Colonna is a black chalk drawing on cardboard (28.9×18.9 cm) attributed to Michelangelo Buonarroti, dated to about 1538–44 and kept at the Isabella Stewart Gardner Museum in Boston. 1538–44 drawing by Michelangelo Pietà for Vittoria Colonna
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