“ was an artist, but also a patrician,” the art historian William E. being rather divine than human.” Michelangelo famously took issue with aspects of Vasari’s paean, hiring Ascanio Condivi to write an “authorized biography” that underlined the artist’s noble birth. In addition to seeing the elder artist’s work, Caravaggio likely read Giorgio Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects, which likens Michelangelo to “a spirit with universal ability in every art and every profession. Michelangelo’s legacy was inescapable in Rome. Writing about the artist’s frescoes in Italian Journey, Goethe remarked, “Until you have seen the Sistine Chapel, you have no adequate conception of what man is capable of accomplishing.” In the sobering sculpture, the Virgin Mary holds a lifeless Christ, eyes downcast, rich folds of fabric catching the light. Gombrich wrote in 1950, “till the human figure did not seem to hold any secrets for him.” Audiences marveled at his finely rendered Pietà. “He made his own research into human anatomy, dissected bodies, and drew from models,” E. The former was an archangel of artists, the latter a virtuosic painter, but no angel.Ī meticulous student of the human form, Michelangelo rendered in marble the grace of motion. Caravaggio tended, instead, to the saint’s violent strain, his paintings charged and his life turbulent. Michelangelo typified the archangel’s immaculate tendency, his lofty artistic ideals a model for all artists to follow. Both were named after the archangel Michael, an angel among angels, who cast out the rebel spirits from Heaven. Once Caravaggio, born Michelangelo Merisi, moved to Rome in 1592, he lived in the shadow of the Michelangelo-Michelangelo Buonarroti. ![]() The two artists were not related and never met-Caravaggio was born seven years after Michelangelo died-but they shared a city and a name. It draws from the parable in Luke: A father embraces his wayward son, his older brother looking on bitterly-an apt allegory for Caravaggio, naturally impulsive, and Michelangelo, seemingly perfect but racked by self-doubt. ![]() Petersburg, is a spare canvas, warmed by the rich crimsons and ochres Caravaggio favored. Rembrandt’s The Return of the Prodigal Son, which hangs in the Hermitage Museum in St. The haunting pitch of Caravaggio’s work inspired Peter Paul Rubens, Rembrandt, Jacques-Louis David, and Eugène Delacroix.
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