Giuliano detail from Michelangelo's tomb of Giuliano de' Medici.
Italy. Tuscany.
Florence (Firenze).
San Lorenzo Quarter (Medici family)
The Sagrestia Nuova.
The project of building a proper family mausoleum was conceived in 1520, when Michelangelo began work on the New Sacristy upon the request of Cardinal Giulio de Medici, the future Pope Clemens VII, who expressed a desire to erect the mausoleum for some members of his family: Lorenzo the Magnificent and his brother Giuliano; Lorenzo, Duke of Urbino; and Giuliano, Duke of Nemours. After completing the architectural works in 1524, Michelangelo worked until 1533 on the sculptures and the sarcophagi that were to be featured on the chapel walls. The only ones actually completed were the statues of Lorenzo the Magnificent and his brother Giuliano; the Duke of Urbino; the Duke of Nemours; the four statues of the allegories of Day and Night, and Dawn and Dusk; and the group representing the Madonna and Child; they are flanked by statues of Saints Cosma and Damian (protectors of the Medici), executed respectively by Montorsoli and Raffaello da Montelupo , both of whom were pupils of Michelangelo.
The articulation of the architecture structure and the strength of Michelangelo's sculptures reflect a complex symbolism of Human Life, where “active life” and “contemplative life” interact to free the soul after death, a philosophical concept closely linked to Michelangelo's own spirituality.
Numerous drawings by Michelangelo were found in a small space beneath the apse, and may be related to the statues and architecture of the Sacristy.
www.museumsinflorence.com/musei/Medici_chapels.html
The pose of the central figure on the tomb of Giuliano de' Medici, arms resting at his sides and legs comfortably apart, and its open composition suggest a cheerful duke, generous in both mind and spirit. In fact, the figure holds in his hand several coins, as if an intended gift. Light plays freely on his beautiful face, yet the figure is lacking in energy and seems to wilt under the burden of the Roman armor. Michelangelo did not intend for this sculpture, nor that of Lorenzo, to be a recognizable portrait of the duke, but instead an ideological tribute through its enhanced beauty and dignity.
entertainment.howstuffworks.com/arts/artwork/michelangelo...
Giuliano detail from Michelangelo's tomb of Giuliano de' Medici.
Italy. Tuscany.
Florence (Firenze).
San Lorenzo Quarter (Medici family)
The Sagrestia Nuova.
The project of building a proper family mausoleum was conceived in 1520, when Michelangelo began work on the New Sacristy upon the request of Cardinal Giulio de Medici, the future Pope Clemens VII, who expressed a desire to erect the mausoleum for some members of his family: Lorenzo the Magnificent and his brother Giuliano; Lorenzo, Duke of Urbino; and Giuliano, Duke of Nemours. After completing the architectural works in 1524, Michelangelo worked until 1533 on the sculptures and the sarcophagi that were to be featured on the chapel walls. The only ones actually completed were the statues of Lorenzo the Magnificent and his brother Giuliano; the Duke of Urbino; the Duke of Nemours; the four statues of the allegories of Day and Night, and Dawn and Dusk; and the group representing the Madonna and Child; they are flanked by statues of Saints Cosma and Damian (protectors of the Medici), executed respectively by Montorsoli and Raffaello da Montelupo , both of whom were pupils of Michelangelo.
The articulation of the architecture structure and the strength of Michelangelo's sculptures reflect a complex symbolism of Human Life, where “active life” and “contemplative life” interact to free the soul after death, a philosophical concept closely linked to Michelangelo's own spirituality.
Numerous drawings by Michelangelo were found in a small space beneath the apse, and may be related to the statues and architecture of the Sacristy.
www.museumsinflorence.com/musei/Medici_chapels.html
The pose of the central figure on the tomb of Giuliano de' Medici, arms resting at his sides and legs comfortably apart, and its open composition suggest a cheerful duke, generous in both mind and spirit. In fact, the figure holds in his hand several coins, as if an intended gift. Light plays freely on his beautiful face, yet the figure is lacking in energy and seems to wilt under the burden of the Roman armor. Michelangelo did not intend for this sculpture, nor that of Lorenzo, to be a recognizable portrait of the duke, but instead an ideological tribute through its enhanced beauty and dignity.
entertainment.howstuffworks.com/arts/artwork/michelangelo...