Š copyrighted material
Depicting Michelangelo: the meaningful representations of the artist Paulo Martins Oliveira
As argued in parallel studies 1, the artists of the 15th, 16th and 17th centuries were often main actors in the depicted scenes, either through realistic portraits, or more commonly through symbolic representations, some times as part of superimposed layers of meaning that express the rivalries and complicities with other masters. This paper focuses on the case of Michelangelo Buonarroti (1475-1564), several times presented in a meditative and distant posture.
By himfsel
1
By Rapahel
By Titian
By Delacroix
Books: Leonardo x Michelangelo, Jheronimus Bosch, Separata 1; articles: The L(eonardo) and the S(alai), etc. 1/7
In turn, this kind of depiction encodes even deeper superimposed messages. For instance, the shown detail from Raphael’s The School of Athens is actually sarcastic, and for this purpose the artist used subtle duplications (a resource developed earlier by painters such as Jan van Eyck and Rogier van der Weyden).
Raphael “stabbing” Michelangelo
The “true” contemptible Michelangelo The “false” peaceful Michelangelo
The symbolic link between the two Subtle inconsistencies, expressing the falsehood of the depiction (Michelangelo is seated on air, and the connection between the “table” and the steps is incoherent)
2/7
Inset Illustrative complementary example: The Procuress, by Vermeer, one of many uses of concealed duplications.
The Procuress Symbolic duplication of Vermeer, with Maria Thins and Catharina Bolnes (also symbolic portraits)
Rembrandt Sel-portrait with Saskia
The corpse of the Dutch lion
Frans van Mieris Brothel scene
In the Procuress, Vermeer accurately superimposed different layers of meaning, for which he duplicated himself. In fact, in order to encode messages, certain hidden devices and symbolic mecahisms were being surreptitiously developed and improved since the 14th/15th centuries, reaching a peak of originality in the 17th century (Caravaggio, Velรกzquez, Rembrandt and Vermeer, among others. Probably, Velรกzquez's Las Hilanderas is the mos ingenious painting in the History of Art).
3/7
Continuing the analysis on Michelangelo, an even more allegorical case can be found in Tityus, by Titian.
“Tityus” (Tizio in Italian) represents Titian (Tiziano in Italian, Titianus in Latin), whereas the great eagle symbolizes Michelangelo. Indeed, at that time those main Italian painters were called “eagles” (Francisco de Olanda, 16th century), and the inclusion of that bird of prey (instead of the two vultures) also indicates that Titian merged the original story of Tityus with the legend of Prometheus, following precise objectives, involving precisely Michelangelo2. Moreover, the “eagle” even has a supposed N, which is actually an Aleph (Alef), corresponding to the symbolic self-representation of Michelangelo in the Sistine Chapel.
N / Aleph (Alef)
2
ALEF V and monstrous portrait of the artist (below), resembling the flayed skin in the Last Judgment
The context that frames this symbolism is complex and will be presented in another study. 4/7
But on other occasions, the inclusion of Michelangelo intends to honor him, as seen in the Assumption of the Virgin, by Daniele da Volterra, actually an ingenious and loyal painter, unfairly nicknamed “il braghettone”.
Depictions of Michelangelo, by Volterra
An interesting case can be found in the complex Supper at Emmaus, in which Michelangelo da Caravaggio evoked the late Michelangelo Buonarroti as an allegorical “bad thief ”, crucified with his arms behind the crossbeam.
5/7
Michelangelo is not being criticized, but rather presented as a renegade maverick, with whom Caravaggio identified (the standing waiter).
Michelangelo, by Bonasone
A curious neutral perspective is verifiable in Giorgione’s Three Philosphers.
Giorgione, by himself
Michelangelo, by Bugiardini
Leonardo, by himself
3
Det.
The great head (intellect) of the recently deceased Botticelli (1510), on which all are based.
Ignoring the disputes between Michelangelo and Leonardo, Giorgione is fascinated by his own oncoming death. About the symbolic portraits of Leonardo, see the schemes in the articles The L(eonardo) and the S(alai) and O falso ParaĂso de Tiziano. 3
6/7
Inset Symbolic portraits of Leonardo da Vinci
The examples presented in this study show how artists used their ingenuity to superimpose specific layers of meaning, in which they are the real protagonists. In conclusion, many artworks are complex pieces of symbolic engineering, making necessary a profound reformulation of the historiographical concepts and approaches.
2013 akenpapers.bravesites.com
7/7