Michelangelo: life, work, and legacy

Michelangelo's Zeal For Defying The Norm

Michelangelo's enduring influence

Michelangelo's creativity

Michelangelo's Emphasis on Visual Effects

Emotional nature of Michelangelo's effects

Success of visual effects

Beyond Borders

How Michelangelo's work influenced many states

Future Generations Inspired

Michelangelo influenced his younger peers

Michelangelo continues to influence architecture

Architectural Designs Inspired from Michelangelo

Michelangelo -- Inspiration for Design and Approach

Michelangelo's continuing influence

Most influential works

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Michelangelo's devotion and emphasis on the overall design of a creation is obvious in his work because he often translated concepts from one field to another and the most renowned was his interest in the male figure that he not only portrayed in his paintings but also into his sculptures. Michelangelo is well-known for his interest in the human body (Hall 82) and he felt that the needs of the whole would always be more important than the needs of the parts. Just as in the human body, it is the articulation of the whole body, composed of limbs and other elements, which will always be placed before the articulation of a single element.

The beauty of the male figure, Michelangelo's main focus, can be seen in many of his art works. Perhaps the most famous reflection of his focus on the concept of the beautiful male is his infamous nude statue of David. David appears as the perfect man; muscular, handsome, and strong. His positioning is also bold; the strong concept of thought present in his eyes is strong and his presence is overwhelming. His very maleness is obvious and striking, and reflects on the concept of what a man was expected to be.

The Sistine Chapel, with its muscular biblical characters, is yet another reflection of this. For instance, the presence of God and Adam in the chapel shows Adam as a strong, bold, muscular figure. Adam, much like David, is beautiful and perfectly proportioned, his maleness is striking, and his appearance is incredibly bold.

Michelangelo translated this concept into architecture and his bold designs, tearing away from classical architecture, give witness to his views. His defiance to classical theory is evident in his Laurentian Library. The Library was designed for Pope Leo X and stands out in its mannerist architecture and use of unusual structural form for its time.

Perhaps because Michelangelo had little or no qualms about nude art and the focus on the male body as beautiful, much of Michelangelo's work was rejected or looked down upon during his time (Condvici 83). Certainly, accusations of homosexual eroticism can be made based on Michelangelo's obsession with the male figure. Regardless, Michelangelo continued this focus. He did not let this rejection keep him from continuing with his efforts. This attitude is inspiring many modern architects, often to the distaste of their critics. Michelangelo's interest in the human body and his rejection of the norm (which was often looked down upon) has served to define his art, and have influenced future generations.

Michelangelo's need to divert from the norm is felt by many architects today as Robert Venturi put it, "This is an architecture that inspired me the most and that is because of the idea of the Mannerists of accepting and acknowledging convention and then diverting from it -- making exceptions and creating appropriate ambiguities" (Belogolovsky 82).

A. Michelangelo's enduring influence

Michelangelo was one of the Renaissance great figures who shaped Mannerism style. Mannerists' paintings show distorted or twisted poses and foreshortening, a way in getting the impression of forms projecting into space. Its figures appear elongated especially in the body, neck, arms and legs. 'Mannerism is a style displaying the skill of the artist and demanding the knowledge of the viewer' (Mannerism 2000). Michelangelo's Last Judgment is an example of a mannerism style. In this painting, foreshortening with lesser control was used in displaying his visually powerful art skill.

Foreshortening is a drawing style wherein the subject is made shorter than its actual size to create a three-dimensional effect. It was a practice in painting in the 15th and 16th centuries and Michelangelo also used this in his paintings in the ceilings of Sistine Chapel to show supremacy and movement of his prime figures.

One of the followers of Michelangelo was Daniele da Volterra whose Kneeling Figure reflected Michelangelo's defined drawing style. Also, another drawing by Giulio Clovio was 'a repetition of Michelangelo's The Dream of Human Life (II Sogno) of the early 1530s, reflecting the fame and influence of his extremely refined and original presentation drawings' (Mannerism 2000). Seated Barbarian Prisoners by Pellegrino Tibaldi was also an example of the lasting persuasion of Michelangelo's figure draftsmanship and style. The same with Bronzino whose painting shows a saint almost nude, a reflection of Michelangelo's Last Judgment where both saints and sinners were depicted in nudity. Michelangelo believed that the nude human body was God's greatest creation so he always emphasise this in his works.

B. Michelangelo's creativity

Michelangelo's creativity was shown in his creations like when he carved David out of a useless and damaged solid giant block of marble. His creation has transformed a thing of no value into a highly classified sculpture which is considered a masterpiece of a genius. 'He can see through each block of stone a figure hidden inside, waiting to be released through sculpting' (Schuman & Paxton). His creativity is seen in his desire to glorify God. His belief that man was created in God's image was his inspiration in making male nude figures. He describes his masterpieces as the true reflection of how God created His highest creation.

Drawing was Michelangelo's avenue in releasing the ideas formed and developed in his imagination. His creativity is stirred while drawing, speeding-up as he puts them on paper. 'Although Michelangelo's art is rooted in naturalistic observation he often manipulates human anatomy for expressive effect, creating poses that look natural but are in fact impossible' (Soden & Longair 2006). His knowledge of the human anatomy, acquired both from corpses and life models, combined with his varied and extensive experience of drawing enabled him to create poses that highlight the figure's muscles. 'Michelangelo must have had a clear idea of the design before embarking on detailed life studies, so his figures are seen from behind while the torsos twisted violently and heads looking the other way' (Soden & Longair 2006). He usually outlines the left portion of the design only because he knows that there will be an overlapping of figures in the finished product. Michelangelo's creativity extends in his sketches, drawings, poetry, paintings, frescoes, sculptures, architecture and as a trusted military engineer.

II. Michelangelo's Emphasis on Visual Effects

As previously mentioned, Michelangelo emphasized strong visual effects and his views are represented in his works and architectural designs. No more so than Michelangelo's Capitoline Hill. Capitoline Hill plays with perspective with its odd shape. Not quite a Square shape, but more Rhomboid in structure, with its center a statue of Marcus Aurelius. The slight difference in shape plays with visual perception.

The 2005 exhibition in Biennale "Metamorph," gave examples of modern architects' attempts to find new and sometimes unaccepted ways of designing a composition (More 23). The weird experimental shapes were described as some to be a show of "pessimism" or distrust in modern architecture. They were, all the same, loaded with visual trickery, often blending into the background. These visual effects and the care with which the architectural compositions were created were with the intent to mesmerize by extraordinary perspectives. Many claimed to be inspired by Michelangelo, while many others named other renowned architects, however, Michelangelo's influence of playing upon convention and defying the norms as well as emphasis on visual effect was prominent.

Another proof of Michelangelo's visual effects is when he did the 14-feet sculpture of David. That time the people of Florence were facing adversities and the city was surrounded with threatening forces. Michelangelo's creation of the sculpture somehow put a visual reminder to the people of David's victory over the giant and powerful Goliath. He discreetly reminded Florence of courage over numbers.

A. Emotional nature of Michelangelo's effects

Michelangelo's drawings focus on the male human body, mostly nude, revealing its God-given beauty through its muscular torso, toned muscles and a variety of unique poses indicating emotional movement of action. His nude and semi-nude subjects pulsate with drama and suggest spiritual state of action. 'The idealised nude is inspired by classical sculpture and has an incredibly dramatic pose wherein the figure is seen from behind, his torso twisting violently and his head looking the other way' (Soden & Longair 2006). Its emotional effect indicates a sharp motion and tells a story.

The drawings of Michelangelo are detailed, revealing bursting veins, muscular body and powerful muscles. He uses different tones of the black chalk to provide the contrast of light and shade, blending the shades with the use of his fingertips or a small piece of cloth. His Pieta paintings reveal loneliness and sorrow. It was this time when he was at the lowest point of his life because of the death of younger friends, Vittoria Colonna and Luigi del Riccio. His loyal servant, Urbino, died too in 1556. Though he was known for his temperamental temper, tagged as the terrible Michelangelo, no friends or companions, had complexity in dealing with others and only used boys as his assistants, his desire to glorify and serve God through his works was insurmountable.

His solitude reflects his attitude to be wholly absorbed and engrossed with his craft, sacrificing even his personal happiness for the divine gift of his art. Indeed, he was quoted as saying, "I am here in great distress and with great physical strain, and have no friends of any kind, nor do I want them; and I do not have enough time to eat as much as I need; my joy and my sorrow / my repose are these discomforts." (Morgan Library 2010).

B. Success of visual effects

The success of visual effects used by Michelangelo was boundless. His works of art were recognized as works of a genius and was considered the greatest influence on western art in the last five centuries. He was unparalleled at his time and flourished in rendering his divine gift of art in the service of the Catholic Church. His works such as The Last Judgment, statue of David and the paintings in the ceiling of the Sistine Chapel signify visual effects that convey messages to the viewers. In the case of the statue of David, some believed that the subject was projected as preparing for battle as evidenced by the bulging veins in David's hand and the twisting of his nude body but there are some who think that the statue projects moments after his victory over Goliath as there seem a discreet smile on his face while holding the rock in his left hand. 'It later became the symbol of defending the civic liberties of the Florentine Republic against more powerful states and the Medici family' (Sharp 1991).

Of Michelangelo's visual arts, his indispensable penchant for male nude beauty is evident as most of his subjects in paintings and sculptures are viewed in nudity. Though it was a common knowledge that Michelangelo was attracted to them emotionally, still there are reasons behind that nudity over the issue of his homosexuality. He wanted to glorify God by making a masterpiece out of the true image of God's highest creation. Michelangelo was akin with the symmetry and body language of the human body and he used this to convey imaginative messages. In The Last Judgment, the message was the saints will rise to eternal while the sinners and the evil will go down the damnation.

III. Beyond Borders

Michelangelo's works are now inspiring several people around the world. With advances in the information technology, detailed information on the world's masterpieces is now freely available to the masses and therefore, people can attain information as and when required. Modern architecture in Iran is realizing the importance of experimentation and is gaining inspiration from the Renaissance and Baroque periods, in addition to their conventional Islamic Architecture (Kamran 21).

Centuries have passed since Michelangelo's demise. Nevertheless, the works of art and wonder he has left behind for people to note, continue to inspire and influence art and architecture, and will continue to do so for times to come for time immemorial since his ideas and intellect bestow several inspiring focuses on a multitude of arenas including architecture.

A. How Michelangelo's work influenced many states?

It is established that Michelangelo's paintings and sculptures have visual effects that convey messages to its viewers. The works are universal in nature so the messages conveyed do not just affect the people of Florence but all the people in the world who believe that there's judgment day, there's David and all the other saints and sinners in the Holy Scriptures. The statue of David influences all in the people in the world who were reminded to be alert, unify and develop a heroic courage in confronting threats. The statue reminds the viewers that the inner spiritual strength can be more powerful than arms, same thing that prayers and faith of God have helped David in conquering Goliath. It also serves as a warning to future tyrants to beware because there's a David inside every citizen in the world ready to fight back if provoked. With the 'statue of David, Michelangelo proved his contemporaries that he not only surpassed all modern artists but also the Greeks and Romans by infusing formal beauty with powerful expressiveness and meaning' (Soden & Longair 2006).

Michelangelo's Pieta paintings affect all the mothers across cultures. It is inherent in every mother to love and care for their children and in Pieta, this feeling was perfectly conveyed. Pieta which means pity shows how a mother (Mary) grieves over the death of her son, in this case, Jesus Christ. Moreover, the works of Michelangelo in the ceiling of the Sistine Chapel showcased his expertise in painting nine scenes from the Old Testament including the Creation of the world, Adam and Eve and Noah. These works influence all other states outside Rome who believe in the Holy Scriptures and Christianity.

IV. Future Generations Inspired

As explained earlier in the paper, Michelangelo's works of art are of utmost inspiration, and have been for over a number of years, for the architects and designers. Not only that but also that these designs and wonders of art are of such timeless inspiration, that future will be inspired from them as well.

His physical and intellectual ideas in his arts and pieces of wonder were sought out in every movement and medium of expression. His favorite topics included the human anatomy and this was portrayed in several forms including doors and walls, in which muscular tension and parts of the human body were portrayed in several forms of architectural design (Barnes 1). Mannerism and the late renaissance art are two major facets that show the influence of Michelangelo's art work. This was the period, in the mid 16th century, when it was a reactionary to the Renaissance, and several splits had taken place, including in religion (Barnes 2).

A. Michelangelo's influence to his younger peers

It is a fact that Michelangelo was a loner in his youth and even known to possess rough, impolite manners, and no pupils or constant collaborators. But because of his explicit mastery of the art that he developed an impact on younger artists who came across with his successive styles. The impact was enormous but tended to be devastating in the long run. Michelangelo influenced Peter Paul Rubens and Gian Lorenzo Bernini, known to be the great baroque artists of the next century. Unfortunately, the two found it more fruitful to study Michelangelo's ideas at a distance to ensure their artistic independence. There are also those who were influenced and were made to complete the unfinished works of Michelangelo after his death. Domenico Fontana and Giacomo della Porta completed the Greekcross plan and the great dome after Michelangelo's passing. Annibale Carracci also transformed one of the lazy young nude male figures in Ignudo of Michelangelo's Sistine chapel into a devious-like character.

It was Michelangelo's expressive use and manipulative knowledge of the human anatomy that brought tremendous influence on his contemporaries and younger generation. 'There was not a major Italian sculptor of the 16th century whose style was not formed under the influence of or in direct reaction against him like Bandinelli' (The Artchive). All his professional life, it was the habit of Michelangelo to get boys to serve as his general servants, doing all the household and running errands and at the same time help in the art work during free time to learn. Among those who succeed are Pietro Urbano, Antonio Mini, and Francesco d' Amadore, also called Urbino who later became his trusted friend until Urbino's death.

B. Michelangelo continues to influence architecture

Michelangelo's commissioned work from the Leo X to design a facade of the Medici parish church in Florence did not push through but this led to the creation of his two earliest architectural masterpieces -- the Medici funerary chapel and the Laurentian Library. Though the 2 were also not finished, the funerary chapel was intended to be a combination of architecture and sculpture which can house the tombs of the four members of the Medici family. 'The idea was that looking from the altar, moving past the tombs, one's gaze would be directed by the gaze of the tomb figures who turns towards the far wall and the Madonna holding upon her lap the Christ child, whose sacrifice had made possible the Resurrection of the soul of the faithful to everlasting life -- the climax to the iconographical program of the mausoleum' (The Artchive). Only 2 tombs were finished and the Madonna and Child was also only half done. 'Beneath the seated figure of Giuliano are reclining figures of Day and Night and beneath that of Lorenzo is the Dawn and Evening, both symbolizing mortality through the passage of time' (The Artchive).

Another architectural masterpieces of Michelangelo are the Laurentian Library entrance hall and stairs. The library is on top a monastery building in San Lorenzo, Florence and house the large collection of Books by the Medici family. Be it in painting, architecture or sculpture, Michelangelo's influence was gigantic. The nude figures in his works showcase his mastery in the art of manipulating the human body to convey a visual message. His visual arts communicate with the people.

V. Specific Designs and Approaches Used as Inspiration

Mannerism can be termed as that art movement, which was primarily based on the facets, styles and aspects of Michelangelo's paintings, and his other pieces and works of art; in a much exaggerated fashion. Obviously, there were hints of inspiration from other artists as well during the period of Mannerism, which is shown in the creations of that particular period. However, "the mannerists were particularly drawn to the complex poses and elongated elegance of some of his figures." -- That is in reference to Michelangelo's works (Barnes 2).

In the later years, several artists inspired from Michelangelo's works of art, which includes famous names like "[…] Annibale Carracci and Peter Paul Rubens […]" (Barnes 2), showed great strength and power by utilizing the different figures and symbolisms used by Michelangelo in their paintings and murals. These artists utilized them with a combination of other artists; work like that of Raphael's. "But perhaps Michelangelo's greatest legacy to later artists is the image of the genius that he and those around him fashioned." (Barnes 2)

In this regard, the different aspects of Michelangelo's work and his character, that are reflected in the paintings and architecture of the period of Mannerism, include the temperamental mindset, isolation, challenge and the brooding sense of thinking. And in this era also, these are the primary characteristics, which inspire and coax artists in their own arts and works (Barnes 3).

Chapman in his book puts up details about Michelangelo, where several designs and techniques of his, are under scrutiny and explains the role of drawing and painting in the life of Michelangelo, as to how important they were, to him. Chapman explains his approach to painting and drawing, that it was done usually on recycled paper -- primarily letters, and done on both side, to save on the costs of paper. He did this mostly through out his career, portraying one aspect of his genius (Barnes 3).

His designs and approaches were primarily in terms of religion and in terms of human anatomy. These were his two subjects that he used to put up in most of his paintings, sculptures, and even in his architecture. His sensitivity to the usage of marble and his ideology of usage of colors and hues for the portrayal of his subjects in his paintings has been a source of inspiration throughout, for many sculptors, and painters, along with architects (Liebert 34).

VI. Architectural Designs Inspired from Michelangelo

His architectural designs are considered one of the most defiant ones of his times. His approach to architectural design was of free form and he utilized different aspects of mannerist architectural design structure. There are several designs of architecture that are critically analyzed by analysts and critics to state that they are a piece of art, designed and inspired by the arts and architecture of Michelangelo. "The Triumph of Religion-Ernest Fenollosa, the legendary curator of Japanese art, found the earliest murals evocative of Michelangelo's at the Vatican." (Tucci 84). Another twenty years after this critical evaluation, the gallery of the library, "[…] barrel-vaulted […]" and "nearly a hundred feet long and two stories high, […]"reflects the designs and architecture of the Sistine Chapel designed by Michelangelo (Tucci 86). The models that were the actual brainchild of Michelangelo, are quite important and inspired for the current times as well, considering they are a legacy, showing complete genius, that was further implemented by other artists and architects in their own designs, as explained above.

VII. Michelangelo -- Inspiration for Design and Approach

Before the time that Michelangelo was born, it was an era in which artists would portray a typical form of art. The artists would just portray the decorative versions of medieval Europe. They had never thought of portraying human life as a subject of their work. With the works introduced by Michelangelo, the view of art changed. People saw art from a different angle and perspective. Michelangelo had then "studied anatomy with the help of the Prior of the Hospital of Sto Spirito, for whom he appears to have carved a wooden crucifix for the high altar" (Austin 33).

With the help of anatomy, Michelangelo was able to see and portray the "the surgeon's scalpel to probe beneath the skin and study muscle structure, circulation and other body functions. (The Art Institute of Chicago). The new development of art was not pertaining to only the scope of art but it was also covering all the aspects of science and life. It gave a different angle of human knowledge and taught people to learn and gain intellect from these works.

Alongside Michelangelo's appreciation of his work and scope of knowledge, people also felt that the paintings had "changed humanity's view of itself -- from the sinner and miserable wretch of medieval times as perpetrated by the church, to a resurrected man, the image of god, able to comprehend the laws of nature and at the centre stage of all life" (The Art Institute of Chicago). This gave a sense of understanding to people about who they are from within. At first, artists used to portray the sinful aspect of life. But with the evolution of Michelangelo's work, it gave a picture of men and then further; the sense of god in the body of men. The drawings of Michelangelo gave a completely opposite and opposing picture as was portrayed by the artists before his time.

Artists were redefining or redrawing the nude and portraits of the people that had been done by Michelangelo. These portraits allowed the human life to be raised to the level where god is. It gave the people an idea and vision to view god as a human being. These works encouraged kings and queens along with wealthy craftsmen and traders to have their own portraits done. The main outcome of this revolution of art was the increase in the number of people who were interested in this form of art.

A. The Artists Influenced By the Work of Michelangelo

The work of Michelangelo has been appreciated and accepted by a number of art admirers. There have also been a number of artists who have been inspired by his work and hence, adopted the designs and the architectures of Michelangelo.

One of those who have been influenced by the humanity side of art has been the very well-known artist, Raffaello Sanzio. "It was the works of Leonardo and Michelangelo that inspired the last great painter of the Italian High Renaissance, Raphael" (Esposito 13). Raphael had contributed in a number of ways in the field of art and provided with paintings holding deep meanings.

Raphael was also known for designing ten tapestries for the already built Sistine Chapel by Michelangelo. He was moved by the new look of art in the humanity manner. And it was this look that took Michelangelo and then Raphael on the journey to change the concepts of modern art that had been set centuries ago. They changed the way people thought about the relationship of art with science and intellectual knowledge.

B. Most Influential Work of Michelangelo

As said by many authors, Michelangelo was really concerned about the idea of portraying as much of intellect he can in his work rather than making sure that his work got completed. This was one of the many styles of Michelangelo that made him influential. He wanted to make sure that the message he was trying to portray was sent across.