pieta sculpture

Pieta sculpture
The pietà developed in Germany (where it is called the “Vesperbild”) about 1300, reached Italy about 1400, and was especially popular in Central European Andachtsbilder. [4] Many German and Polish 15th-century examples in wood greatly emphasise Christ’s wounds. The Deposition of Christ and the Lamentation or Pietà form the 13th of the Stations of the Cross, as well as one of the Seven Sorrows of the Virgin.
A famous example by Michelangelo was carved from a block of marble and is located in St. Peter’s Basilica in the Vatican City. The body of Christ is different from most earlier pietà statues, which were usually smaller and in wood. The Virgin is also unusually youthful, and in repose, rather than the older, sorrowing Mary of most pietàs. She is shown as youthful for two reasons; God is the source of all beauty and she is one of the closest to God, also the exterior is thought as the revelation of the interior (the virgin is morally beautiful). The Pietà with the Virgin Mary is also unique among Michelangelo’s sculptures, because it was the only one he ever signed, upon hearing that visitors thought it had been sculpted by Cristoforo Solari, a competitor. [5] His signature is carved as MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] “Michelangelo Buonarroti the Florentine did it”. [6]

Pieta sculpture
Michelangelo claimed that the block of Carrara marble he used to work on this was the most “perfect” block he ever used, and he would go on to polish and refine this work more than any other statue he created.
Around the time the work was finished, there was a complaint against Michelangelo because of the way he depicted the Virgin. She appears rather young – so young, in fact, that she could scarcely be the mother of a thirty-three-year-old son. Michelangelo’s answer to this criticism was simply that women who are chaste retain their beauty longer, which meant that the Virgin would not have aged like other women usually do.

Pieta sculpture
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin. [ when defined as? ] Michelangelo’s interpretation of the Pietà is unprecedented in Italian sculpture. [2] It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
In 2019, a small terracotta figure identified as a model for the final sculpture was displayed in Paris. [3]

Pieta sculpture
Stock Photos from Elena Pominova/Shutterstock
Though the piece boasts a 520-year history, many highlights of its legacy have emerged only recently. In the middle of the 20th century, for example, it saw much fanfare when it was displayed at the 1964 New York World’s Fair. Less than a decade later, it attracted attention when a man brandishing a hammer vandalized it. And, as recently as early 2019, the piece yet again made headlines when historians concluded that a small terra cotta statue discovered in Paris likely served as its study.

Pieta sculpture
Today if you were to go to St. Peter’s Basilica in The Vatican, you would see just right of the entrance the world-famous sculpture by Michelangelo, “La Pieta”. The work was unprecedented, both because of its depiction of the subjects and because of its unique technique. The incredible life-like aspect of the characters is moving; but what is perhaps most striking is the contrast between the glossy texture of the statue and the grave, painful scene that it depicts.
In modern times, every individual has a unique signature which they use frequently to authenticate documents or agreements. But at the end of the 15 th century, things were a bit different.

References:

http://www.italianrenaissance.org/michelangelos-pieta/
http://en.m.wikipedia.org/wiki/Piet%C3%A0_(Michelangelo)
http://mymodernmet.com/michelangelo-pieta/
http://bsartsociety.wordpress.com/2018/10/09/the-pieta-sculpture-as-a-form-of-autograph/
http://mymodernmet.com/michelangelo-pieta/

Leave a Reply

Your email address will not be published. Required fields are marked *