Pieta, as in English " The Pity" is Michelangelo Buonarroti's one of the greatest works, for some people even better than David. The sculpture is located in Saint Peter's Basilica, Vatican City. Michelangelo sculpted Pieta in 1498-99 years, and it is the first sculpture out of the same theme works by the artist.

Pieta has initially been made for the French cardinal Jean de Billheres. He served in Rome and wanted to be remembered long after his death. The cardinal hired young Michelangelo to create a memorial for his grave. Michelangelo sculpted the scene after the crucifixion when the lifeless body of Jesus lies on the lap of his mother.

Pieta is an excellent example of the High Renaissance and the naturalism that came with it. The balance, details, and lifelike approach to the human form make pieta one of the best works of its time. The sculpture uses a pyramidal composition, placing Mary and Jesus in the imaginary triangle. The size of the statue is 1,74 meters on 1,95 meters. Even though the sculpture is naturalistic, Mary is presented much more prominent than her son. Some people critiqued Michelangelo for it, while others believe that Michelangelo represents the mother's agony, who is imagining that she is holding her son as a baby once again. It is also very noticeable that Mary looks younger than someone who is a mother of 33 years old. Portraying Mary this way is a well-known practice. This way artist tries to present the purity of the mother of Jesus.


Biography of Michelangelo

Michelangelo, By Daniele da Volterra The early life of Michelangelo Michelangelo di Lodovico Buonarroti Simoni "supreme in not one art alone, but all three," as Giorgio Vasari described him, was born on 6 March 1475, in the Republic of Florence. Best known as Michelangelo, he was an Italian painter, sculptor, architect, and poet, who became a significant influence on Western art. The man, considered to be one of the founders of the Renaissance era, was born in Caprese, Valtiberina, in a small-scale bankers' family. Even though it was never proven, Michelangelo and his family believed that they were descendants of the Countess Mathilde of Canossa. Michelangelo was raised in Florence, where his father owned a farm and a marble quarry. After his mother's death( at the age of 6), his nanny and her stonecutter husband took care of him. In this atmosphere, young Michelangelo falls in love with marble. The first steps in art, Michelangelo took with Domenico Ghirlandaio, who was a master in perspective, fresco, portraiture, and figure painting and who had the largest workshop in the city of Florence. At age 13, Michelangelo was apprenticed to Domenico Ghirlandaio. A year later, his father persuaded the master to pay Michelangelo as an artist. This fact was a big deal at that time because no one of that age was getting paid. In 1489, Michelangelo, with Francesco Granacci( as the best pupils of Ghirlandaio), went to work for the de facto ruler of Florence, Lorenzo de' Medici. For two years, from 1490-1492, Mich

The Creation of Adam

History During 1508-1512 Michelangelo painted the ceiling of the Sistine Chapel. He persuaded Pope Julius the second to let him cover the roof with an elaborate scheme of Creation, The Fall of Man, the genealogy of Christ, and the Promise of Salvation through the prophets. The composition stretched over five hundred square meters of the ceiling. The Creation of Adam is from the Biblical narrative of creation from the Book of Genesis. The painting is 280 cm x 570 cm, and it was completed in 1512. Composition God in The Creation of Adam is represented as a white-bearded elderly caucasian man who is wrapped in a cloak. Adam, on the other hand, is utterly nude. God from the right corner is looking at Adam, who is in the left corner lower than God. His left hand is stretched out to reach God's right hand. Their fingers are not touching. The picture gives the impression that God and Adam are not on the same level. Behind God, there are twelve figures. Many scholars believe that these figures represent Eve and unborn children of hers and Adam's. Analysis Different people analyze this artwork differently. Let's look at the center of the painting, where Adam's and God's hands almost touch. Adam looks up to God, and He seems calm and patient, his hand is relaxed, stretched out to reach God, but passive and emotionless. God, on the other hand, is full of enthusiasm, he reaches Adam with excitement, and his eyes are lightening up. His hand is stressed out, and his index finger is about to touch Adam. The background