the pieta was created by which artist
In this sculpture, the Virgin Mary is presented as a young woman, which is rather different form the other versions. For instance, her youth is a symbol of her purity, although some people believe that it is quite strange how she can appear young despite her age and physical maturity.
During the following years, the Pietà by Michelangelo sustained severe damages. In fact, the four of Mary’s fingers on her left hand were broken when the statue was relocated to the basilica. However, Giuseppe Lirioni restored this famous artwork. Some scholars, on the other hand, commented that the restorer seemed to have made the gesture quite rhetorical.
Irritated, the cardinal sent Jacopo Galli, a Roman banker and nobleman, to discover the identity of the sculptor of the Cupid: Michelangelo was brought to Rome, where he apologised to Raffaele Riario and went on to sculpt the Bacchus for him.
The Pietà has another unusual feature, only this one is much harder to spot: Christ has an extra tooth, a fifth incisor. This was also known as “the tooth of sin” and in the works of other Renaissance artists it was a trait attributed to negative characters. The Christ of the Pietà, on the other hand, was given an extra tooth since, upon his death, he took upon himself the sins of the world.
This was a special work of art even in the Renaissance because at the time, multi-figured sculptures were rare. These two figures are carved so as to appear in a unified composition which forms the shape of a pyramid, something that other Renaissance artists (e.g. Leonardo) also favored.
In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Michelangelo’s talent in carving drapery is matched by his handling of the human forms in the Christ and the Virgin, both of whom retain a sweet tenderness despite the very tragic nature of this scene. This is, of course, the moment when the Virgin is confronted with the reality of the death of her son. In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Christ, too, is depicted almost as if he is in a peaceful slumber, and not one who has been bloodied and bruised after hours of torture and suffering. In supporting Christ, the Virgin’s right hand does not come into direct contact with his flesh, but instead it is covered with a cloth which then touches Christ’s side. This signifies the sacredness of Christ’s body. Overall, these two figures are beautiful and idealized, despite their suffering. This reflects the High Renaissance belief in Neo-Platonic ideals in that beauty on earth reflected God’s beauty, so these beautiful figures were echoing the beauty of the divine.
When Michelangelo set out to create his Pietà, he wanted to create a work he described as “the heart’s image”. 
The Pietà (Italian: [pjeˈta] ; English: “The Pity” ; 1498–1499) is a work of Renaissance sculpture by Michelangelo Buonarroti, housed in St. Peter’s Basilica, Vatican City. It is the first of a number of works of the same theme by the artist. The statue was commissioned for the French Cardinal Jean de Bilhères, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal’s funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century.  It is the only piece Michelangelo ever signed.
1. The “Pieta” is the only Michelangelo artwork bearing the artist’s name. He added it after overhearing a viewer misidentify the work as being that of another artist.
9. Among the most difficult damage to repair was Mary’s eyelid, which took approximately 20 tries before the restorers got it right.