{"id":16479,"date":"2024-10-17T11:09:30","date_gmt":"2024-10-17T09:09:30","guid":{"rendered":"https:\/\/www.galleriabazzanti.it\/michelangelo-e-i-12-apostoli\/"},"modified":"2024-12-10T10:06:48","modified_gmt":"2024-12-10T09:06:48","slug":"michelangelo-e-i-12-apostoli","status":"publish","type":"post","link":"https:\/\/www.galleriabazzanti.it\/en\/michelangelo-e-i-12-apostoli\/","title":{"rendered":"Michelangelo and the 12 Apostles"},"content":{"rendered":"

[vc_row full_width=”stretch_row” css=”.vc_custom_1728289319129{padding-top: 300px !important;padding-bottom: 300px !important;background-image: url(https:\/\/www.galleriabazzanti.it\/wp-content\/uploads\/2024\/10\/blog-michelangelo-san-matteo-sfondo-00.jpg?id=16404) !important;}”][vc_column][\/vc_column][\/vc_row][vc_row full_width=”stretch_row”][vc_column][vc_custom_heading text=”Michelangelo and the apostoles” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space][vc_column_text]<\/p>\n

While Michelangelo was busy with the colossal sculpture of David<\/a><\/strong>, on April 24, 1503 the Opera del Duomo commissioned another important work: the execution of 12 marble Apostles to decorate the niches of the pillars under the dome of the Cathedral in \u201cheroic\u201d size, that is, about two meters and twenty centimeters high. Michelangelo was supposed to deliver one a year. The arrival of the marble blocks from the Carrara quarries occurred between 1504 and 1505, and the first to be started was the St. Matthew<\/strong>. He managed to rough-hew only a part of it and in 1505 he left for Rome, rescinding the contract on December 18, 1505. He may have temporarily resumed the work in 1506, on his return to Florence after the quarrel with Pope Julius II and his escape from Rome.<\/p>\n

[\/vc_column_text][vc_images_carousel images=”16414″ img_size=”post-slide” hide_pagination_control=”yes” hide_prev_next_buttons=”yes”][vc_column_text css=”.vc_custom_1729870586204{margin-top: -30px !important;}”]<\/p>\n

Michelangelo, St. Matthew, Galleria dell’Accademia<\/p>\n

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Michelangelo, St. Matthew, Galleria dell’Accademia, details<\/p>\n

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Raffaello, who came to Florence in 1504 and remained until 1508, was so struck by Michelangelo’s St. Matthew that he made a study drawing of it.<\/p>\n

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Raffaello, Study for Michelangelo’s St. Matthew, British Museum, London<\/p>\n

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The saint is a powerful, vigorous figure, with a frowning face, and he seems to emerge from the not yet sculpted block, bringing forward a bare leg with a twist to the left; his chest is crossed by a band (which he will have seen when studying Donatello’s Sacrifice of Isaac of 1421) as do the Madonna in the Vatican Piet\u00e0 and the Boy Archer of the French Embassy in New York.<\/p>\n

[\/vc_column_text][vc_images_carousel images=”16430″ img_size=”post-slide” hide_pagination_control=”yes” hide_prev_next_buttons=”yes”][vc_column_text css=”.vc_custom_1728550937557{margin-top: -30px !important;}”]<\/p>\n

Donatello, Sacrifico d’Isacco, 1421, Museo Opera del Duomo<\/p>\n

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Vasari in his “Vite”. Writes:<\/p>\n

\u2026Cos\u00ec abbozzata mostra la sua perfezione, ed insegna agli scultori in che maniera si cavano le figure de\u2019 marmi, che senza venghino storpiate, per poter sempre guadagnare col giudizio, levando del marmo, ed avervi da potersi ritrarre e mutare qualcosa, come accade , se bisognassi\u2026<\/em><\/p>\n

\u2026Thus sketched it shows its perfection, and teaches sculptors how to carve figures from marble, without being distorted, so as to always be able to gain by judgment, by taking away some marble, and to be able to portray and change something, as happens, if necessary\u2026<\/em><\/p>\n

San Matteo is preserved in the Museo dell’Accademia<\/a> in Florence.[\/vc_column_text][vc_custom_heading text=”La tecnica del “non finito“<\/b>” font_container=”tag:h2|font_size:18|text_align:left” use_theme_fonts=”yes”][vc_column_text]<\/p>\n

Michelangelo si era impossessato della tecnica scultorea del \u201cnon finito\u201d fin dalla sua a prima opera, la Madonna della Scala, eseguita nel 1491, a 16 anni.<\/p>\n

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Madonna della Scala<\/p>\n<\/td>\n

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Madonna della Scala, dettaglio<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

Questa tecnica presuppone che l\u2019 opera in cui viene applicata sia stata terminata, perch\u00e9 Michelangelo ha lasciato alcune sue opere incompiute, e in questi casi ovviamente non siamo difronte alla \u201ctecnica a non finito\u201d.
\nMa anche dove tale tecnica \u00e8 stata volutamente eseguita, si possono distinguere differenti modalit\u00e0. Nello stiacciato donatelliano della Madonna della Scala i due putti in alto sono volutamente appena accennati, creando nello spettatore alcuni sottili stati d\u2019 animo: l\u2019 attenzione viene indirizzata sulle parti definite della scultura e il senso impressionistico rende sconosciuto e fascinoso il loro agire, lascia allo spettorare la possibilit\u00e0 di vedere qualcosa che non \u00e8 completamente formato, di \u201cproiettare\u201d cio\u00e8 su di essi quello che la sua immaginazione gli detta. Queste caratteristiche fanno nascere il senso di mistero che alla fine si riverbera su tutta l\u2019 opera.
\nTale tecnica verr\u00e0 fatta propria dai pittori impressionisti dell\u2019 \u2018800, e ci permette di capire quanto la scultura di Michelangelo, nel \u2018500, fosse \u201cmoderna\u201d e innovativa.
\nMichelangelo ha usato questa stessa tecnica ma in maniera pi\u00f9 pesante e profonda in altri suoi capolavori, dove crea un senso di sospensione delle figure in attesa di nascere, ancora in parte imprigionate nella materia; l\u2019 esempio pi\u00f9 chiaro lo si ha nei quattro Prigioni,<\/p>\n

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Michelangelo, Prigione Barbuto, Galleria dell\u2019Accademia<\/p>\n

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Michelangelo, Prigione “Atlante”, Galleria dell\u2019Accademia<\/p>\n

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Michelangelo, Prigione che si desta, Galleria dell\u2019Accademia<\/p>\n

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Michelangelo, Prigione giovane, Galleria dell\u2019Accademia<\/p>\n

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che se \u00e8 vero che non furono terminati, \u00e8 altrettanto vero che Michelangelo ha eseguito lo sbozzo dei loro blocchi di marmo in modo particolare e non ortodosso, probabilmente per fermare meravigliosamente il momento della liberazione dell\u2019 anima delle sculture dalla materia; si entra quindi con i prigioni nel dubbio: non terminati ma anche in parte eseguiti con molto \u201cnon finito\u201d?
\nDubbio in quanto i due Schiavi eseguiti nel 1513-1515, prima dei Prigioni scolpiti nel 1525-1530, furono considerati terminati e finiti; ma nel volto dello Schiavo Ribelle la tecnica del \u201cnon finito\u201d appare in modo evidentissimo nel volto.<\/p>\n

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Michelangelo, Schiavo Ribelle, Museo del Louvre<\/p>\n

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Questo dubbio nasce con forza anche nella Piet\u00e0 Bandini, gruppo che sappiamo mai del tutto terminato da Michelangelo. Ma i diversi livelli di \u201cnon finito\u201d del corpo e del volto di Maria (in contrasto con la politezza del corpo di Cristo ma non del suo volto n\u00e9 della sua mano sinistra), del busto di Nicodemo non ci permettono di avere una risposta certa.<\/p>\n

[\/vc_column_text][vc_images_carousel images=”16455″ img_size=”post-slide” hide_pagination_control=”yes” hide_prev_next_buttons=”yes”][vc_column_text css=”.vc_custom_1729066294403{margin-top: -30px !important;}”]<\/p>\n\n\n\n
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Piet\u00e0 Bandini<\/p>\n<\/td>\n

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Piet\u00e0 Bandini, dettaglio<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_images_carousel images=”16458″ img_size=”post-slide” hide_pagination_control=”yes” hide_prev_next_buttons=”yes”][vc_column_text css=”.vc_custom_1729066348388{margin-top: -30px !important;}”]<\/p>\n

Piet\u00e0 Bandini, dettaglio<\/p>\n

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Anche l\u2019uso della sagrina per finire le superfici di alcune sue opere, come nei corpi del Tondo Pitti ad esempio, ci riportano ad un uso sottile del \u201cnon finito\u201d voluto e ricercato da Michelangelo in tutte le sue possibilit\u00e0.<\/p>\n

[\/vc_column_text][vc_images_carousel images=”16463″ img_size=”post-slide” hide_pagination_control=”yes” hide_prev_next_buttons=”yes”][vc_column_text css=”.vc_custom_1729066731248{margin-top: -30px !important;}”]<\/p>\n\n\n\n
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Tondo Pitti<\/p>\n<\/td>\n

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Tondo Pitti, dettaglio<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Maggiori informazioni su queste sculture qui<\/a><\/p>\n

[\/vc_column_text][vc_btn title=”TUTTE LE NEWS” style=”outline” shape=”square” color=”primary” align=”center” link=”url:https%3A%2F%2Fwww.galleriabazzanti.it%2Fnews-magazine%2F|||”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row full_width=”stretch_row” css=”.vc_custom_1728289319129{padding-top: 300px !important;padding-bottom: 300px !important;background-image: url(https:\/\/www.galleriabazzanti.it\/wp-content\/uploads\/2024\/10\/blog-michelangelo-san-matteo-sfondo-00.jpg?id=16404) !important;}”][vc_column][\/vc_column][\/vc_row][vc_row full_width=”stretch_row”][vc_column][vc_custom_heading text=”Michelangelo and the apostoles” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space][vc_column_text] While Michelangelo was busy with the colossal sculpture of David, on April 24, 1503 the Opera del Duomo commissioned another important work: the execution of 12 marble Apostles to decorate the niches of the pillars under the dome of […]<\/p>\n","protected":false},"author":1,"featured_media":16425,"comment_status":"closed","ping_status":"open","sticky":false,"template":"single-articolo.php","format":"standard","meta":{"footnotes":""},"categories":[522],"tags":[],"class_list":["post-16479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-announcements-en"],"acf":[],"yoast_head":"\nMichelangelo and the 12 Apostles - 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