Miguel angel piedad rondanini
Pieta miguel angel florence
As if with the chisel he wanted to explore the spirituality of which marble sculpture was capable. Because with the Rondanini Pieta Michelangelo opened an unprecedented path in the History of Art that would not be recovered until the art of the 19th century.
The artist is in his workshop at Macelli dei Corvi in Rome. Despite his advanced age, he still has the strength to strike with the necessary intensity the chisel, to discover the sculpture in the Carrara marble. Perhaps it is one of the stone blocks left over from the Tomb of Julius II.
Michelangelo’s Rondanini Pietà presents the group of the Virgin holding her dead son Jesus Christ in her arms. It is his third Pietà, after the first Pietà in the Vatican in Rome in 1499 and the previous one in Florence.
Michelangelo takes up the composition of the Florence Pietà, the one he broke with hammers. Perhaps between 1552 and 1553 he began his new sculpture, where he eliminated the figures of Joseph of Arimathea and Mary Magdalene. Thus, he was left with only the Mother and her deceased Son.
Miguel ángel, el divino
La cualidad de inacabada de la obra encaja con el progreso tardío de Miguel Ángel, que se aleja del naturalismo y el humanismo y se acerca a un neoplatonismo místico, en el que concibe la escultura como algo latente en el mármol y que sólo requiere la eliminación del material superfluo; de este modo, parece haber privado a sus símbolos humanos de la cualidad corpórea en un intento de transmitir directamente una idea puramente espiritual.
También se ha sugerido que la escultura no debe considerarse inacabada, sino una obra en continuo proceso de hacerse visible por el espectador a medida que éste se desplaza para verla desde múltiples ángulos.
La piedad miguel ángel analisis
You are entering a large rectangular room; hold your breath, because you are about to see a masterpiece. A statue by Michelangelo, the Rondanini Pietà. It is the only one in that room: it is so important that it could not be placed near another one. Moreover, if you don’t have time to visit the whole Sforzesco Castle, you should start here.
The Rondanini Pietà is presented from behind, from the back. At first glance it will seem almost a block of raw marble. In fact, going around the sculpture you will notice that some parts are well defined, for example, the legs of Christ. The faces, on the other hand, are barely sketched, and you can easily distinguish the chisel marks. On the left you can also see an arm of Christ, which Michelangelo wanted to move and then abandoned.
Although it is not finished, and perhaps for this reason, there is a feeling of sorrow, of pain, seeing this mother embracing the body of her dead son, trying to keep him standing, but without the strength to do so, as he is in fact sliding to the ground.
Twice unfinished, because if you look at its left side you can see two different arms, one more finished (but then abandoned and half detached from the main group) and the one that joins the figure of Christ.
The theme is one of the author’s usual ones: the Pietà. The tearing of the Mother before her dead Son. A theme of Gothic origin that Michelangelo uses to explore both human passions and plastic possibilities.
In its first appearance (Vatican Pietà), the Leonardesque pyramidal composition is used (with a wide base to give it physical and emotional stability) and a posture of Christ on the Virgin’s lap (actually a deformation to create beauty, as we explained here).
But perhaps the most evident is the change of feelings, the very vision of death that evolves from the contained sadness (barely a slight melancholy) of the Vatican to the anguish and, definitely, the terrible loneliness of these two figures that seem to wander the world without a place where they can collect themselves.