match the following sculptures and monuments with the sculptors who designed them pieta
Michelangelo first gained notice in his 20s for his sculptures of the Pietà (1499) and David (1501) and cemented his fame with the ceiling frescoes of the Sistine Chapel (1508–12). He was celebrated for his art’s complexity, physical realism, psychological tension, and thoughtful consideration of space, light, and shadow. Many writers have commented on his ability to turn stone into flesh and to imbue his painted figures with energy. Michelangelo’s talent continued to be recognized in subsequent centuries, and thus his fame has endured into the 21st century.
In Bologna he was hired to succeed a recently deceased sculptor and carve the last small figures required to complete a grand project, the tomb and shrine of St. Dominic (1494–95). The three marble figures are original and expressive. Departing from his predecessor’s fanciful agility, he imposed seriousness on his images by a compactness of form that owed much to Classical antiquity and to the Florentine tradition from Giotto onward. This emphasis on seriousness is also reflected in his choice of marble as his medium, while the accompanying simplification of masses is in contrast to the then more usual tendency to let representations match as completely as possible the texture and detail of human bodies. To be sure, although these are constant qualities in Michelangelo’s art, they often are temporarily abandoned or modified because of other factors, such as the specific functions of works or the stimulating creations of other artists. This is the case with Michelangelo’s first surviving large statue, the Bacchus, produced in Rome (1496–97) following a brief return to Florence. (A wooden crucifix, recently discovered, attributed by some scholars to Michelangelo and now housed in the Casa Buonarroti in Florence, has also been proposed as the antecedent of the Bacchus in design by those who credit it as the artist’s work.) The Bacchus relies on ancient Roman nude figures as a point of departure, but it is much more mobile and more complex in outline. The conscious instability evokes the god of wine and Dionysian revels with extraordinary virtuosity. Made for a garden, it is also unique among Michelangelo’s works in calling for observation from all sides rather than primarily from the front.
In the ‘Atlas’ slave, named after the Titan who supported the heavens on his shoulders, you can feel the colossal power of the figure as he struggles to free his form from the stone block. The unfinished subject of this work, frozen in the midst of the creative process, is no longer simply the image of a slave. It has become a universal and timeless metaphor for the creative force at work, literally the crystallization of creativity itself. ‘The marble not yet carved can hold the form of every thought the greatest artist has.’ 
NAUM GABO (1890-1977)
Head No.2, 1916 (Cor-ten sheet steel – copy of cardboard original)
Reputation as a Painter
From High Renaissance to Mannerism
Mention Michelangelo and one work that instantly comes to mind is the artist’s stunning fresco painted on the ceiling of the Vatican City’s Sistine Chapel. Commissioned by Pope Julius II and created between 1508 and 1512, the work – which depicts nine stories from the Book of Genesis – is considered one of the greatest works of the High Renaissance. Michelangelo himself was apparently reluctant to take on the project, as he saw himself as a more accomplished sculptor than painter, but the work nevertheless continues to enthrall today with around five million people flocking to the Sistine Chapel every year to see his masterpiece.
Michelangelo’s first large-scale sculpture Bacchus is, alongside Pietà, one of just two sculptures that survived from his first days in Rome, and one of the few works the artist created focusing on pagan, rather than Christian, subjects. The statue – which depicts the Roman god of wine in a drunken, lolling stance – was originally commissioned by Cardinal Raffaele Riario but was eventually rejected by him; by the early 16th century, though, it found a home in the garden of banker Jacopo Galli’s Roman palace. Since 1871, Bacchus has resided at Florence’s Museo Nazionale del Bargello, and is displayed alongside other works by the master including his Brutus bust and his unfinished sculpture, David-Apollo.
which the 26-year-old sculptor captures the moment the nymph’s toes take root and her fingers and hair sprout leaves as her river god father sympathetically transforms her into a laurel tree to help her escape from a Cupid-struck Apollo hot on her heels.
The lovelorn Apollo thereupon decreed that the laurel would become the tree closest to his heart, and thus were victors at games and at war ever after crowned with a wreath of its leaves.
The artist combined a rich sense of architecture with a gift for perspective and scenography. It represents the ideal continuation of the ground floor loggias; through the imitation columns one can see various views: villages perched on rock, countryside views, and in the background, against an illuminated sky, is the city (The Holy Spirit Church, a Roman basilica, the porta Settimiana).