Michelangelo and the antique

Michelangelo and Antiquities

Michelangelo and the L'antico

The preservation of antiquities plays an important role for humans. They connect us with out past and remind us of who we were, who we are today, and how we got where we are. The preservation of antiquities is not a new idea. The stewardship of antiquities has always been considered to be an important role. This job was often only relegated to those who played an important role in the current society. As such, the stewardship of antiquities became a status symbol as early as the Middle Ages. The importance of antiquities in human society and the love of them led to the desire to reproduce many of the great works that marked important civilizations or important people.

The idea of reproducing likenesses of important antiques was not new to the people who surrounded Michelangelo and his patrons. Although Michelangelo was considered to be one of the most original artists of all time, many of his pieces were inspired by ancient works of art from times gone by. One of the greatest mysteries surrounding an already mysterious member of Renaissance society is his claim to be one of the most original artists in the world. It might have been difficult to prove that his inspiration was inspired by another piece during the time of their creation, as very few had the means to travel to world to see them. However, now we know that many of his pieces were undoubtedly inspired by older pieces from timed gone by. This research will support the thesis that Michelangelo's love for creating reproductions of antiquities was driven more by the external market that existed for these pieces than by his own admiration and love of them.

Antique Inspiration

That Michelangelo was an admirer of antiquities is apparent from its inclusion in his work. Throughout his life, Michelangelo relied on classical prototypes both for inclusion in his work and as a source of inspiration and a style reference for his originals (Ronen, p. 336). It is apparent that Michelangelo had to have either seen the original or must have seen someone else's drawings in order to create his works. Michelangelo claimed to work entirely from memory. However, several scholars now claim that he carefully destroyed his original drawings in order to create the illusion of his genius (Ronen, p. 336). Whether or not this is true remains one of the great mysteries of the art world.

Michelangelo was said to be divinely inspired, but it is now evident that ancient works often helped to enhance this inspiration. One of the finest examples of this inspiration is in the Fall of Man, which is part of the Sistine Chapel. Part of the drawing originates from as bas-relief from Benevento that is dedicated to Hercules by the Augur P. lunius lanuarius. Michelangelo must have been acquainted with this piece in order to be able to use it in the Sistine Chapel (Ronen, p. 336).

This brings us to a few simple questions. The first is what qualifies antique sculpture? Throughout time, the definition of what qualifies as an antique has changed. In American society, many casual citizens collect antiques and antique sculpture for their private collections. Of course, only the rich and famous can afford the most prized possessions, but many can afford simple collections. However, this was not always the case. In the past, the collection of antiques was considered to be a pastime of the wealthy. Antiquities were regarded as important status symbols and a way to flaunt one's power and prestige. The most prized antiquities are still displayed proudly as symbols of power and success. The definition of what qualifies as an antique has changed throughout the ages. The definition of what is considered an antique also depends on the purpose and opinions of the collector.

In today's market, an antique is generally regarded as something that is over 50 years old. However, depending on the item, this definition might change. It is difficult to define what is considered to be an antique and what is not. The older and rarer the piece, the more that it is worth. People collect antiques because they have some type of value to them. This value might not always be monetary. Sometimes people collect antiques for their intrinsic value or the emotion that is attached to them. The same was true in the time of Michelangelo. People collected antiquities for many reasons.

Greek and Roman sculptures, pottery, and other antiquities were considered prized possessions during the time of Michelangelo (Kent). They represented a glorious time in Italy's past and the roots of the civilization that Michelangelo and his contemporaries knew. They were symbolic of the Italy's legacy and past glory. They enjoyed collecting classical works, as can be seen in both the style of Michelangelo's original works and in the style of the actual items that he chose to represent in his works.

During the 15th and 16th centuries, collecting antiques was in the realm of the middle class elite, who paid considerable amounts of money to suit their tastes and to display their wealth and prestige (Edmonds). The invention of the printing press opened the market for a new class of collectors, but for the most part, during the time of Michelangelo, even these antiquities remained in the hands of the upper middle class (Edmonds). It might be noted that, according to Edmonds, the work of many sculptors began first as a print of the work to be.

Antiquities were held in high regard by the upper Middle class and upper class elite as a status symbol. They used sculpture and painting as a means to show the world the power and status that they had attained, much in the same manner that we use expensive cars to show our wealth (Kent). The possession of antiquities did not extend into the lower classes until recent times. Even now, the collection of antiquities is only for those who can afford them. The collecting of antiquities is still a hobby that is to be enjoyed by the upper class.

Michelangelo's Role in the Discovery of Ancient Sculpture

The ability of Michelangelo to attract Florence's most influential and powerful patrons placed him in a position to influence the future of Italian Renaissance art. Not the least of these powerful families was the famed Medici family. The Medici were responsible for the renovation of many public and private buildings. They were also responsible for the establishment of one of the most prestigious art academies in all of Europe (Art Institute of Chicago). The Medicis' greatest claim was their contribution to the arts and sciences. Art was used to enhance Medici power and to announce to all that they were one of the most powerful families in Italy.

The Medicis made extensive use of sculpture to enhance their residences. Among the Medici property can be found numerous garden statues, grottos, water features, and areas of plantings that featured sculptures of all types. Many of these statues were larger than life. They were made of plaster, marble, granite and other local and imported materials. One of the key problems with the Medici collection is that the artists are often unknown. For instance, the Male Torso is often attributed to Michelangelo, but it is not certain if this is indeed the case, or if it might have been another sculptor altogether (Art Institute of Chicago).

Michelangelo's association with the Medici family gave him access to many opportunities that he would not have had without the support and patronage of this powerful family. The Medici were quite fond of Michelangelo and invited him to view their extensive collection of art and antiquities. The Medici attained their power through the banking industry; therefore, they were of the "proper" class to have access to many works of art. They drove Florence to become an art capital where works were created that would influence the direction that art would take in the future. Many of the art world's greatest masters can be traced to Florence during this time period.

When Lorenzo de'Medici took the throne in 1469, the gardens around his palace were filled with antiquities that invited artists were welcome to study (Lemley). Lorenzo first met Michelangelo when the young ruler was a teen. Supposedly, Michelangelo was busy working in the garden on a marble fawn's head. This was supposedly Michelangelo's first attempt at working with marble. Even so, the young Lorenzo was impressed. He suggested that Michelangelo knock out a few teeth, as the faun that he was working on was aged. Michelangelo complied and Lorenzo was so impressed that he invited Michelangelo to dinner, thus beginning a long relationship between the Medici's and Michelangelo (Lemley). The Medicis' collection of Greek antiquities had a significant influence on the work of Michelangelo.

The collection of antiquities meant that archeology around the ancient Italian cities was alive and well. Throughout the area one can find Etruscan, Greek, and Roman artifacts. The Medici family was heavily involved in the excavation of priceless artifacts from around the Florence area. Exposure to these excavations, many of which were financed by Michelangelo's key patrons, undoubtedly had an affect on his affinity for classical art and art forms. Through his use of ancient works in his own art, as well as his propensity to copy the style of these ancient artifacts, Michelangelo managed to preserve them for future generations.

In Michelangelo's time, these ancient artifacts were held in the private collections of individuals. They were meant only for the eyes of the power elite and not for the eyes of the average citizen. Through Michelangelo's publicly displayed works, the average public had the ability to enjoy and learn about these national treasures. Michelangelo brought knowledge of Italy's past and the civilizations to those who were not members of the upper class. In doing so, he brought an appreciation of them and the importance of the need to preserve them to the general population. At the same time he also established the rightful place of he power elite in their positions by helping to demonstrate their wealth.

Interest in archeology began in earnest in the 15th century (Library of Congress). Ownership of antiquities became further associated with power and prestige, the search for more antiquities led to numerous archeological expeditions in and around Florence. These excavations were largely funded by families such as the Medici (Library of Congress). Michelangelo's alignment with the Medici allowed him to experience new artifacts first hand. The discovery of numerous Greek artifacts led to a Greek revival. Michelangelo's experience of these artifacts first hand gave him credibility both as an artist and as an art consultant. He was allowed to align himself with the power elite and build a considerable business based on these credentials (Bruce, p. 1).

Antiquities and the Art of Michelangelo

One does not have to look far to see how the antiquities to which Michelangelo was exposed contributed to his own artistry and inspiration. One of the key difficulties that the new art student faces in the examination of collections, such as those of the original Medici collection is distinguishing the older artifacts from those created by Michelangelo and his contemporaries. Many of the older, original Greek artifacts had missing parts. Seldom were they found intact, often with extensive damage to the limbs and head. When statures of gods and goddesses were recreated during the 15th century, they were created intact (Freeman, p. 121).

When originals were not available, a reasonable "modern" representation was acceptable. This created a market for Michelangelo's growing reproductions of Greek style art. Whether a piece was a real antiquity or a reproduction made little difference in the 15th century (Freeman, p. 121). Michelangelo's affinity for Greek, Etruscan, and Roman reproductions was a response to a need in the market that he could fill. His experience with the artifacts at the excavation site gave him particular credibility when it came to knowledge of the pieces that he recreated or restored.

One of the most controversial pieces in regards to reproductions is the statue of Bacchus. This statue originally had damaged parts, which made it look like a more genuine antique. This act might have been for political, as well as aesthetic reasons. The Bacchus statue originally was a missing hand. The hand and bowl were restored sometime after the original sculpting by Michelangelo. The original Bacchus with a broken hand might have been influenced by the discovery of an Apollo statue in 1491, which found its way into the treasure collection of Pope Julius II (Freeman, p. 121). Bacchus was commissioned for Cardinal Riario. It is suggested that the missing hand in the Bacchus statue is supposed to be reminiscent of the original Apollo stature. This brings up a question of what might have been the motivation to do such as thing, to create a work and then destroy part of it.

When one consider the world of the rich and famous during the Renaissance, it is important to consider the politics involved in the commissioning of pieces. Artwork was commissioned to increase the collector's worth and prestige among his contemporaries. It was "acceptable" for a Catholic leader to have in his possession the "antique" statue of a pagan God or Goddess, but to commission the sculpting of such as piece could be considered blasphemy or politically incorrect. If a leader of the Catholic church commissioned a statue of a pagan God or Goddess, it might be construed as condoning the worship of this deity. Therefore, it can be suggested that the sculpture might be intentionally made to look as if it were an antique to hide the fact that it had been recently commissioned by a member of the Catholic Church.

The politics surrounding the possession and commissioning of art at the time of Michelangelo might have had a more significant influence on the pieces that he created than his own inspiration. Michelangelo's study of the Greek, Etruscan, and Roman artifacts to which he was exposed obviously played a significant role in his ability to render reproductions of these statues that were difficult to distinguish from the original, particularly when they were intentionally damaged to make them look antique. When Michelangelo viewed the collections at the Medici palace, attended archeological digs, and was invited to view the private collections of Cardinals and Popes, he was more than likely doing what any craftsman who wanted to make a living would do. He was carefully analyzing the tastes and preferences of those whose business he wished to obtain. It was unlikely that he would gain a hefty commission if he did not produce works that were likely to please them and that they would wish to obtain for themselves.

However, few consider the fact that Michelangelo was just like anyone else, either living then, or living in today's society. He had to keep a roof over his head and keep food on the table. The rich and powerful people with whom Michelangelo chose to align himself with were not only the best market for his works, during the Renaissance, they were his only market and his only change to make a living selling his artwork. Artists needed patrons in order to continue to be able to make a living at their art. It can easily be argued, by virtue of his need for survival, that the preferences of the rich and powerful had a greater influence on the direction that Michelangelo's art took than his own artistic inspiration (Houghton, p. 230).

It is likely that as the 15-year-old Michelangelo studied the pieces in the Medici Palace gardens, he might have been thinking as much about the new market for his art that he had found, as his artistic inspiration. The collections of antiquity undoubtedly had an influence on his career and success as an artist. If he did not produce works that were within the tastes of his key clients, he would have more than likely been a starving artist, rather than the desirable artist of the elite. Michelangelo was as much as shrewd business man as he was a talented artist. He was able to identify his target market and carefully analyze their needs and wishes. He then shaped his work to resemble what he had seen in their own private collections. In doing so, he was able to earn space in these prestigious collections for his own work. It would be difficult to say how much of Michelangelo's work was artistic inspiration and how much of it was the practicality of the need to sell art to make a living. His alignment with the Medici's and leaders of the Catholic church allowed him access to a world that few were privileged to see at the time. This presented Michelangelo with an excellent business opportunity, of which he was prepared to take full advantage.