All Michelangelo Buonarroti 's Paintings

The Painting Names Are Sorted From A to Z
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Choice	ID	Image	Painting (From A to Z)	Details
	82698		16th Century Painting	18.75 x 15.5 inches Date ca. 1550(1550) cyf
	62937		Achim Eliud	1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Zadok begat Achim. Achim begat Eliud. Eliud begat Eliazar." (Matthew 1:14-15) This is the first lunette on the south wall. The identity of the figures is not certain, and it is not possible to establish which of the two, Achim or Eliud, is the old man with a child next to him on the left, and which the child held by his mother on the right. The elaborate pose of the old man is very carefully constructed with vigorous twisting of the limbs. The sculptural effect of the figure is largely due to the prominence of the knees and the crossed arms, with the right elbow projecting notably and the hands folded in toward the body. This effect is heightened by the magnificent arrangement of the drapery, especially on the left knee and over the edge of the stone seat. The meditative attitude of the old man is counterbalanced on the other side of the lunette by the fascinating spontaneity of the woman's gestures. Turning toward her child, she stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud , 1501-1550 Painting Style: Italian , , religious
	62938		Achim Eliud	1511-12 Fresco Cappella Sistina, Vatican Turning toward her child, the young woman stretches out her arm to take some food from a plate placed on a stool in the foreground. Artist: MICHELANGELO Buonarroti Painting Title: Achim - Eliud (detail) , 1501-1550 Painting Style: Italian , , religious
	49507		Adams Creation	mk198 1512 Sixtinska kapellet,Rom Placards collage,Young duck Rubicam,Bryssel
	53723		Adams creation Fran Sistine Chapel ceiling	mk234 1511-12
	44254		Ancestors of Christ	245 x 340 cm
	44253		Ancestors of Christ figures	245 x 340 cm
	62898		Ancestors of Christ: figures	1509 Fresco, 245 x 340 cm Cappella Sistina, Vatican The figures are in the trianglar spandrel in the second bay between Joel and the Erythraean Sibyl. The spandrel is above the Zerubbabel-Abiud-Eliakim lunette. It is generally believed that Zerubbabel is depicted here, together with his parents and a brother. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious
	62899		Ancestors of Christ: figures	1511 Fresco, 240 x 340 cm Cappella Sistina, Vatican The figures are in the triangular spandrel in the eighth bay between the Libyan Sibyl and Daniel. The spandrel is above the Jesse-David-Solomon lunette. The absolute immobility of the enigmatic figure depicted frontally provides a triking contrast to the activity of the woman in the opposite spandrel. Placed precisely on the axis of the triangle, she appears to be deep in meditation and totally extraneous to the two figures - a man and a child - that may be discerned behind her in the darkness. In accordance with the lunette below, it can be assumed that Jesse as a child is depicted here together with his parents. The bronze nudes, with their backs turned toward the viewer, seem to be looking upward, like those above the opposit spandrel. Artist: MICHELANGELO Buonarroti Title: Ancestors of Christ: figures Date: 1501-1550 Italian , painting : religious
	52427		Asa - Jehoshaphat - Joram	1511-12 Fresco, 215 x 430 cm
	62939		Azor Zadok	1511-12 Fresco Cappella Sistina, Vatican "Eliakim begat Azor. Azor begat Zadok. Zadok begat Achim." (Matthew 1:13-14) This is the first lunette on the north wall. The absence of information regarding the figures represented has thwarted any attempt to identify them. On the left a seated woman is shown indicating something outside the lunette to a boy (or a girl) who seems to be engrossed in writing or drawing and turns somewhat hesitantly. The woman's pose, with its great naturalness and self-possession, is a variation on the twisted head, shoulders, and legs of the other figures. On the other side of the lunette, seen sideways on, but with his head turned toward the viewer, sits a solitary mature man, his face furrowed by deep lines. Tightly wrapped in his yellow ochre mantle, from which only his head and an arm emerge, he appears to be prey to distressing thoughts. The body, modelled concisely with great plastic power by the interplay of light and shade, and the pattern of the folds of the mantle, stands out clearly against the background. The number of figures present in this lunette is half that of the first lunettes painted by Michelangelo. This sense of isolation intensifies the expressive power of the figure of the pensive man, which some interpreted as being an imaginary self-portrait of the artist. Artist: MICHELANGELO Buonarroti Painting Title: Azor - Zadok , 1501-1550 Painting Style: Italian , , religious
	63029		Bacchus	1497 Marble, height: 203 cm Museo Nazionale del Bargello, Florence At the age of 21 Michelangelo went to Rome for the first time. We still possess two of the works he created in this period (Bacchus and Piet?; others must have been lost for he spent five years there. The statue of Bacchus was commissioned by the banker Jacopo Galli for his garden and he wanted it fashioned after the models of the ancients. The body of this drunken and staggering god gives an impression of both youthfulness and of femininity. Vasari says that this strange blending of effects is the characteristic of the Greek god Dionysus. But in Michelangelo's experience, sensuality of such a divine nature has a drawback for man: in his left hand the god holds with indifference a lionsksin, the symbol of death, and a bunch of grapes, the symbol of life, from which a Faun is feeding. Thus we are brought to realize, in a sudden way, what significance this miracle of pure sensuality has for man: living only for a short while he will find himself in the position of the faun, caught in the grasp of death, the lionskin. The statue was transferred to Florence in 1572. Artist: MICHELANGELO Buonarroti Painting Title: Bacchus , 1501-1550 Painting Style: Italian , sculpture Type: mythological
	62885		Battle of Cascina	1505 Cartoon Private collection In the autumn of 1504 Michelangelo was given the commission to paint a battle scene for the Palazzo della Signoria as a companion piece to Leonardo's Battle of Anghiari. This grand project came to nothing: the cartoon was finished - at least in part - by February 1505, but the urgent summons from Pope Julius II prevented Michelangelo from continuing with the work, for which only some drawings survived. This picture shows a copy of the cartoon by Aristotile da San Gallo. Artist: MICHELANGELO Buonarroti Title: Battle of Cascina (part) Date: 1501-1550 Italian , graphics : historical
	52449		Bronze nudes	1511 Fresco Cappella Sistina
	30458		Ceiling of the Sistine Chapel	mk68 Fresco. 128x45 Vatican Chapel 1508-1512 Italy
	63030		Christ Carrying the Cross	1521 Marble, height 205 cm Santa Maria sopra Minerva, Rome In this work, as in the 1499 Piet? Michelangelo did not portray pain as redemption in the medieval way, but perfect beauty as the expression of its consequence. Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross , 1501-1550 Painting Style: Italian , sculpture Type: religious
	63031		Christ Carrying the Cross	1521 Marble Santa Maria sopra Minerva, Rome Artist: MICHELANGELO Buonarroti Painting Title: Christ Carrying the Cross (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious
	62891		Christ Crucified between the Virgin and Nicodemus	1552-54 Black chalk, brown wash and white lead, 43,3 x 29 cm Musee du Louvre, Paris Artist: MICHELANGELO Buonarroti Title: Christ Crucified between the Virgin and Nicodemus Date: 1501-1550 Italian , graphics : religious
	52696		Christ on the Cross	c. 1541 Black and white chalk, 368 x 268 mm
	62889		Cleopatra	1533-34 Black chalk, 35,5 x 25 cm Galleria degli Uffizi, Florence Artist: MICHELANGELO Buonarroti Title: Cleopatra Date: 1501-1550 Italian , graphics : study
	40366		Conversion of St.Paul	mk156 1542-45 Fresco 625x661cm
	40367		Conversion of St.Paul	mk156 1542-45 Fresco 625x661cm
	30455		Creation of Adam	mk68 Fresco Vatican,Sistine Chapel 1508-1511 Ltaly
	52441		Creation of Eve	1509-10 Fresco Cappella Sistina
	52443		Creation of the Sun, Moon, and Plants	1511 Fresco, 280 x 570 cm
	62892		Crucifix	1556 Black chalk and white lead on paper, 412 x 279 mm British Museum, London The drawings Michelangelo did for his own personal use show us better than any of these other works something of the artist's development during his last years. The last of the six drawings of Crucifixions, depicting Christ on the cross between the Virgin and Saint John, is probably to be dated to 1556. This shows us, once again, those same ideas which had tormented the artist during his work on the PieteRondanini: "Oh! Flesh, Blood and Wood, supreme pain, Through you must I suffer my agony." These lines, which the artist had written at the age of 57, seem to convey the dominant feeling in the Madonna and Saint John, gathered around the Cross. Fear and pain have drawn the Madonna to Christ's body, while St. John turns towards Him in supplication, with one arm around the Cross. In this female figure there is nothing of the Mother of God represented in his 1499 Piete nor does the Evangelist recall anything of the 1505 St. Matthew. Nowhere are the changes of this half century so clearly demonstrated as in the life and work of Michelangelo Buonarroti. Artist: MICHELANGELO Buonarroti Title: Crucifix Date: 1501-1550 Italian , graphics : religious
	41521		Cumaean Sibyl	mk164 c.1510 Sistine Chapel Rome
	33459		Damned soul descending into Hell	mk86 1536-1541 Fresco 1375x1220cm Rome,Vatican Sistine Chapel
	52450		David and Goliath	1509 Fresco, 570 x 970 cm
	62896		David and Goliath	1509 Fresco Cappella Sistina, Vatican A sheet of light descends from David's shoulder along the sleeve of his tunic (painted smalt-blue with lime-white reflections) to the head of Goliath, who is sprawled on the ground, stressing his centrality to the composition and highlighting the dramatic violence of the action. The composition was carefully planned in order to neutralize, as far as possible, the irregular shape of the field, dramatically forcing the predominant line of sight by means of the bold foreshortening of the two figures and the luminous convexity of the white tent, modeled with violet shadows. In the foreground, toward the lower vertex of the triangle, David's sling, lying on the ground, constitutes the starting point of the projection of the perspective along the central axis of the composition. Artist: MICHELANGELO Buonarroti Title: David and Goliath (detail) Date: 1501-1550 Italian , painting : religious
	62897		David and Goliath	1509 Fresco Cappella Sistina, Vatican David's head is boldly foreshortened and modeled with a dense network of soft brushstrokes. Artist: MICHELANGELO Buonarroti Title: David and Goliath (detail) Date: 1501-1550 Italian , painting : religious
	44894		Dawn	mk176 1524-34
	33477		Delphic Sybyl	mk86 c.1506-1509 Fresco c.350x380cm Rome,Vatican Sistine Chapel
	56633		den yttersta domen, sixinska kapellt	mk248 fresken gav anda fran borjan uppbov till kontroverser. det buvudsakliga problemet var att kristus star i stallet i stallet for att sitta, som bibeln anger, den staende stallningen forefaller vara en mer befallande stallning,men som respons pasenare lagar mot nakenbet malade en annan konstnar dit de falska rygerna, i jambojd med kristus vanstra fot sitter martyren bartolomaios ocb balleer sin egen avfladda bud, i buden finns micbelangelos sjalvportratt.
	34367		Die Erschaffung der Eva	mk92 1510 170x260cm Rom,Sixtinische Kapelle
	34368		Die Erschaffung der Eva	mk92 1510 Fresko 355x380cm Sixtinische Kapelle
	44260		Drunkenness of Noah	170 x 260 cm
	52433		Drunkenness of Noah	1509 Fresco Cappella Sistina, Vatican The ninth
	42654		Dying slave	MK169 ca.1513.Marmer height 229cm Louvre, Paris
	62933		Eleazar	1511-12 Fresco Cappella Sistina, Vatican In the left part of the lunette, Matthan, in the background, seems to be turning with an expression of astonishment or apprehension toward his wife, who, seated and seen in profile, plays with the child Jacob, who frisks on her knee. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious
	62934		Eleazar	1511-12 Fresco Cappella Sistina, Vatican Eleazar, father of Matthan is generally believed to be the young man on the right. His head is seen in profile, and he appears to be immersed in his thoughts; his torso is seen frontally; his legs are crossed; his left arm is outstretched, his wrist lying across his raised right ankle, while his right arm, resting on a yellow cushion, is folded, his hand touching his shoulder. Behind him are visible the heads of a woman and a child. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious
	62905		Entombment	1510 Tempera on wood, 159 x 149 cm National Gallery, London Both the attribution and the datation is doubtful. It is probable that the painting was executed by a pupil of Michelangelo with the active participation of the master. Artist: MICHELANGELO Buonarroti Title: Entombment Date: 1501-1550 Italian , painting : religious
	42657		Erythraeische sibille	MK169 detail of the ceiling Sixtijnse chapel, Vatican, Rome 1508-12 Fresco
	44262		Expulsion from Garden of Eden	1509-10
	52424		Exterior of the Sistine Chapel	1475-83 - Cappella Sistina, Vatican Built between 1475 and 1483
	62931		Exterior of the Sistine Chapel	1475-83 - Cappella Sistina, Vatican This is a reconstruction of the original design of the Sistine Chapel seen from the northwest corner, with the crenellations and chemin-de-ronde, before the addition of the buttresses on the long walls, and before the altar wall windows were closed and other buildings raised alongside. Artist: MICHELANGELO Buonarroti Painting Title: Exterior of the Sistine Chapel , 1501-1550 Painting Style: Italian , , religious
	53724		Extreme judgement Sistine Chapel vastvagg	mk234 1536 1463x1341cm
	52440		Ezekiel	1510 Fresco, 355 x 380 cm
	52447		Frescoes above the altar wall	1508-12 Fresco Cappella Sistina
	44263		Frescoes above the entrance wall	1508-12
	42658		God separates the waters and the country and blesses its work,	MK169 detail of the ceiling Sixtijnse chapel Vatican, Rome. 1508-12
	62923		he Persian Sibyl	1511 Fresco, 400 x 380 cm Cappella Sistina, Vatican Primordial, totally detached, her eyes focused on things outside this world, and she herself almost a cave of mystery - such is the Persica of the Sistine Chapel. Something of Leonardo's chiaroscuro has crept into her composition. She is a presence still more powerful and secretive, magical and abstracted than the Cumaean Sibyl. Artist: MICHELANGELO Buonarroti Title: The Persian Sibyl Date: 1501-1550 Italian , painting : religious
	52425		Hezekiah - Manasseh	1511-12 Fresco, 215 x 430 cm
	30453		Holy Family	mk68 Tempera on panel diameter 3'11 1/4" Florence c.1503-1504 ltaly
	33248		Holy Family	mk83 c.1504
	33476		Holy Family	mk86 c.1504/05 Oil tempera on wood
	44264		Ignudo	Oil on canvas
	44265		Ignudo	Oil on canvas
	44267		Ignudo	Oil on canvas
	62915		Ignudo	1509 Fresco Cappella Sistina, Vatican The picture shows the head of the Ignudo at the upper right corner of 1he Drunkenness of Noah (above the Delphic Sibyl). Artist: MICHELANGELO Buonarroti Title: Ignudo (detail) Date: 1501-1550 Italian , painting : religious
	62918		Ignudo	Vatican The picture shows the Ignudo at the lower left corner of the Sacrifice of Noah (above the Erythraean Sibyl). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
	62919		Ignudo	Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Sacrifice of Noah (above the prophet Isaiah). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
	62920		Ignudo	1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Creation of Eve (above the prophet Ezekiel). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
62921		Ignudo	1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Creation of Eve (above the Cumaean Sibyl). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
62924		Ignudo	Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Separation of the Earth from the Waters (above the Persian Sibyl). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
62925		Ignudo	1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
62926		Ignudo	1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
52419		Interior of the Sistine Chapel	1475-83, 1508-12, 1535-41
52420		Interior of the Sistine Chapel	1475-83, 1508-12, 1535-41
52421		Interior of the Sistine Chapel	1475-83, 1508-12 - Cappella Sistina
62935		Jacob	1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Matthan begat Jacob. Jacob begat Joseph, the husband of Mary, of whom was born Jesus, who is called Christ." (Matthew 1:15-16) At the top of the entrance wall of the chapel, to the right of the viewer, next to the Eleazar-Matthan lunette, there is the one concluding the genealogical sequence of the ancestors of Christ in the Gospel of St Matthew. Sullen and perplexed, wrapped in a huge yellow ochre cloak and seemingly withdrawn, the old man - generally believed to be Jacob - dominates the family group on the left due to his expressive power and the quality of the colour. Similarly, on the right, the female figure, usually thought to be Mary, is more prominent than the other members of the Holy Family and the child holding a mirror. Behind Mary in the shadow, Joseph holds the Christ child, who stretches out an arm toward the round mirror held out at the height of his face by a naked female child, possibly an allegory of the Church. The compositional schemes of the two neighbouring lunettes correspond: in both there is a female figure in the foreground seen in full, or half, profile and facing the outer wall of the chapel, and a male figure, on the internal side, with his torso seen frontally. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph , 1501-1550 Painting Style: Italian , , religious
62936		Jacob	1511-12 Fresco Cappella Sistina, Vatican Mary, wrapped in a rose mantle which covers her yellow dress and its greenish shadows, wearing an exotic hairdress, turns toward the spectator. She is more prominent than the other members of the Holy Family behind her in the shadow: Joseph and the Christ child. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph (detail) , 1501-1550 Painting Style: Italian , , religious
52445		Jeremiah	1511 Fresco, 390 x 380 cm
52429		Jesse - David - Solomon	1511 Fresco, 215 x 430 cm
62895		Judith and Holofernes	1509 Fresco Cappella Sistina, Vatican In the fresco, almost in the center and nearest to the viewer, the figures of the two women stand out in the bright light against the white wall placed obliquely in the background. Judith is portrayed as she is about to place a cloth over the severed head of Holofernes, which the maidservant is carrying in a tray held on her head. The biblical heroine's face is hidden because she is looking toward the darkened room on the right where, sprawled on the white sheets of the bed, the headless body of the general, depicted with complex foreshortening, appears still to be in a state of frenzied agitation. Judith and the maidservant form a compact group that is given prominence by strong contrasts and passages of very bright colours: the smalt-blue of Judith's bonnet and dress and the yellow of the borders and oversleeve; the delicate green, with rose-white reflections, of the tunic and the crimson of the belt and sash, repeated with darker tones in the maidservant's tunic, which is lined with deep violet that stands out against the yellow with iridescent greenish shadows of the dress. Artist: MICHELANGELO Buonarroti Title: Judith and Holofernes (detail) Date: 1501-1550 Italian , painting : religious
30494		Last Judgement	mk68 Fresco, Vatican,Sistine Chapel 1536-1541 Italy
44256		Last Judgment	1537-41
62904		Last Judgment	1370 x 1220 cm Cappella Sistina, Vatican This fresco was commissioned by Pope Clement VII (1523-1534) shortly before his death. His successor, Paul III Farnese (1534-1549), forced Michelangelo to a rapid execution of this work, the largest single fresco of the century. The first impression we have when faced with the Last Judgment is that of a truly universal event, at the centre of which stands the powerful figure of Christ. His raised right hand compels the figures on the lefthand side, who are trying to ascend, to be plunged down towards Charon and Minos, the Judge of the Underworld; while his left hand is drawing up the chosen people on his right in an irresistible current of strength. Together with the planets and the sun, the saints surround the Judge, confined into vast spacial orbits around Him. For this work Michelangelo did not choose one set point from which it should be viewed. The proportions of the figures and the size of the groups are determined, as in the Middle Ages, by their single absolute importance and not by their relative significance. For this reason, each figure preserves its own individuality and both the single figures arid the groups need their own background. The figures who, in the depths of the scene, are rising from their graves could well be part of the prophet Ezechiel's vision. Naked skeletons are covered with new flesh, men dead for immemorable lengths of time help each other to rise from the earth. For the representation of the place of eternal damnation, Michelangelo was clearly inspired by the lines of the Divine Comedy: Charon the demon, with eyes of glowing coal/Beckoning them, collects them all,/Smites with his oar whoever lingers. According to Vasari, the artist gave Minos, the Judge of the Souls, the semblance of the Pope's Master of Ceremonies, Biagio da Cesena, who had often complained to the Pope about the nudity of the painted figures. We know that many other figures, as well, are portraits of Michelangelo's contemporaries. The artist's self-portrait appears twice: in the flayed skin which Saint Bartholomew is carrying in his left-hand, and in the figure in the lower left hand corner, who is looking encouragingly at those rising from their graves. The artist could not have left us clearer evidence of his feeling towards life and of his highest ideals. The painting is a turning point in the history of art. Vasari predicted the phenomenal impact of the work: "This sublime painting", he wrote, "should serve as a model for our art. Divine Providence has bestowed it upon the world to show how much intelligence she can deal out to certain men on earth. The most expert draftsman trembles as he contemplates these bold outlines and marvellous foreshortenings. In the presence of this celestial work, the senses are paralysed, and one can only wonder at the works that came before and the works that shall come after". Artist: MICHELANGELO Buonarroti Title: Last Judgment Date: 1501-1550 Italian , painting : religious
62913		Last Judgment	1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious
62914		Last Judgment	1537-41 Fresco Cappella Sistina, Vatican The picture shown is a detail of the lower right part depicting Charon. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious
52453		Laurentian Library	1530 - Biblioteca Medicea
52423		Lunette and Popes	1475-83, 1508-12 Fresco Cappella Sistina
63026		Madonna and Child with the Infant Baptist	1505-06 Marble, diameter: 82,5 cm The Royal Academy of Arts, London This tondo explores the problems of composing a meaningful group within a circle, with a precise definition of the spatial planes and relationships within the picture space. The Doni Tondo, his only finished panel painting, and another marble relief, the Pitti Tondo deal with the same problems. Artist: MICHELANGELO Buonarroti Painting Title: Madonna and Child with the Infant Baptist (Taddei Tondo) , 1501-1550 Painting Style: Italian , sculpture Type: religious
62888		Male Nude	1504-06 Black chalk with white highlights, 40,5 x 22,6 cm Teylers Museum, Haarlem The picture shows a male nude and two studies for The Battle of Cascina. Artist: MICHELANGELO Buonarroti Title: Male Nude Date: 1501-1550 Italian , graphics : study
44258		Martyrdom of St Peter	1546-50 Fresco, 625 x 662 cm
62911		Martyrdom of St Peter	1546-50 Fresco, width of detail 108 cm Cappella Paolina, Palazzi Pontifici, Vatican The detail shows figures from the right side of the fresco. Artist: MICHELANGELO Buonarroti Title: Martyrdom of St Peter (detail) Date: 1501-1550 Italian , painting : religious
52434		Medallion	c. 135 cm Cappella Sistina
63014		Medici Madonna	1521-31 Marble Sagrestia Nuova, San Lorenzo, Florence Artist: MICHELANGELO Buonarroti Painting Title: Medici Madonna (detail) , 1501-1550 Painting Style: Italian , sculpture Type: religious
52431		Nahshon	1511-12 Fresco, 215 x 430 cm
63022		Pius	1501-04 Marble, height: 134 cm Duomo, Siena The garment of a prince of the Church in full dress cannot be dramatized in the same way as that of an apostle. Michelangelo divided up the task in Siena as a medieval master would have done: he kept the apostles in the lower register for himself; he left the popes in the register above that to Baccio da Montelupo because they are artistically less interesting and are not seen at quite such close range. Pius was particularly sacred to the Piccolomini, because in the person of Enea Silvio, who chose the name Pius II (1458-1464), they had provided their first pope. He founded the town of Pienza. Artist: MICHELANGELO Buonarroti Painting Title: Pius , 1501-1550 Painting Style: Italian , sculpture Type: religious
62910		Plan for a Church	. 1560 Ink Casa Buonarroti, Florence During the last ten years of his life Michelangelo mainly drew plans for new buildings and perhaps for further sculpture. After his reconciliation with Cosimo de' Medici, he designed new plans for San Giovanni dei Fiorentini in Florence. Artist: MICHELANGELO Buonarroti Title: Plan for a Church Date: 1501-1550 Italian , graphics : study
42655		plfond of the Sixtijnse chapel Rome Vatican	MK169 1508-12 Fresco 13.7x39m
62912		Porta Pia begun	1562 - Porta Pia, Rome Traces of Michelangelo's architectural activities are found in some parts of Rome. There are, for example, the sombre, crenellated bastions of the Porta Pia, where it is evident that the architect was primarily a sculptor. The central section, belonging to the 19th century, greatly weakens the dignified appearance of the original. Artist: MICHELANGELO Buonarroti Title: Porta Pia Date: 1501-1550 Italian , graphics : other
52451		Punishment of Haman	1511 Fresco, 585 x 985 cm
62900		Punishment of Haman	1511 Fresco Cappella Sistina, Vatican On the left of the pendentive, Esther reveals Haman's plot to Ahasueras. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious
62901		Punishment of Haman	Fresco Cappella Sistina, Vatican On the right of the pendentive, the king sends Haman to provide royal apparel for Mordecai, who is sitting at the king's door. Artist: MICHELANGELO Buonarroti Title: Punishment of Haman (detail) Date: 1501-1550 Italian , painting : religious
52428		Rehoboam - Abijah	1511-12 Fresco, 215 x 430 cm
52448		Roma) Judith and Holofernes	1509 Fresco, 570 x 970 cm
52438		Sacrifice of Noah	1509 Fresco, 170 x 260 cm
52430		Salmon - Boaz - Obed	1511-12 Fresco, 215 x 430 cm

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