David
The high point of Michelangelo's early style is the gigantic (4.34 m/ 14.24 ft) marble David (Accademia, Florence), which he produced between 1501 and 1504, after returning to Florence. The character of David and what he symbolizes, was perfectly in tune with Michelangelo's patriotic feelings. At the time, Florence was going through a difficult period, and its citizens had to be alert and mobilized to confront permanent threats. He used David as a model of heroic courage, in the hope that the Florentines would understand his message. This young Biblical hero demonstrated that inner spiritual strength can prove to be more effective than arms. His faith in God ("The Lord is my strength and my shield.") enabled this young shepherd to overcome Israel's enemies, using a mere sling, which is the only element in the composition enabling us to identify the mythical figure of David.

Michelangelo chose to represent David as an athletic, manly character, very concentrated and ready to fight. The extreme tension is evident in his worried look and in his right hand, holding a stone. The meaning of this David becomes fully clear if we take into consideration the historical circumstances of its creation. Michelangelo was devoted to the Republic, and wanted each citizen to become aware of his responsibilities and commit himself to accomplishing his duty.With this statue Michelangelo proved to his contemporaries that he not only surpassed all modern artists, but also the Greeks and Romans, by infusing formal beauty with powerful expressiveness and meaning.

The Sistine Chapel CeilingThe Sistine Chapel Ceiling
In April 1508, Michelangelo was summoned back to Rome by Julius II, but he was still not able to start on the papal tomb. In fact Julius II had a new job for him: painting twelve figures of apostles and some decorations on the ceiling of the Sistine Chapel. Buonarroti, who had always regarded himself as a sculptor, would now have to perfect the art of fresco. It seems that the pope had been advised to make this move by Bramante and other artists working at his court, who did not take kindly to Michelangelo's presence: "And this thing they did with malice, to distract the pope from matters of sculpture; and since they were sure that he, either by not accepting this undertaking, would turn the pope against him, or by accepting it would do much less creditable work than Raphael of Urbino, to whom, out of hatred for Michelangelo, they gave every support."

        At first, Buonarroti tried to turn down the commission, but in vain. And then, during the realization of the work, that mysterious liking that the artist and the pope had, at bottom, for one another yielded its fruit. Julius II let himself be swayed by Michelangelo's creative frenzy, and both were carried away by their enthusiasm over more and more ambitious plans. So, Michelangelo was given carte blanche: by October 31st, 1512, he had painted over 300 figures on the ceiling of the Sistine Chapel.

Next Page