The Artist as Genius: Michelangelo and Sculpture

            Michelangelo di Buonarotti, one of the most successful and influential artists of the Renaissance, was both a master of brush and chisel.  His works in the Sistine Chapel exemplify his brilliance in fresco painting, while works such as the David and Roman Pieta evoke his emotional and striking power over marble.  The Roman Pieta, commissioned in 1498 for the tomb of the French cardinal, Jean de Billheres, now rests in St. Peter’s Basilica in the Vatican City, Rome. 

Roman Pieta, photo courtesy of Wikipedia CC

            The marble sculpture has three key elements: realistic depth, subdued yet dramatic emotion, and exquisite detail.  For Michelangelo sculpture allowed for a level of depth that he felt painting lacked, and thus allowed him the freedom of physicality to create works of art.  The folds in the Madonna’s drapery appear soft, while the body of Christ hangs limply over her lap so realistically that he seems truly lifelike.

            Interestingly, Michelangelo manipulates proportion in this sculpture (as with many of his prolific works) in order to heighten the dramatic element.  The hands and size of the Madonna’s lap are much too big to be proportionally accurate, but this actually adds power to her presense.  Christ seems small and frail compared to her.

            The detail in this work is perhaps what allows it to stand out most.  Most notably is the body of Christ, on which every limb appears smooth and toned, muscled and vein filled.  Each finger on his hand hangs limply, bones showing underneath skin.  His forearm and bicep falling past the Madonna’s lap is taut with muscles, his torso thin, muscle and bone showing through the skin.  The face of Christ sags lifelessly, while the serene face of his mother peers down on him.