Michelangelo BiographyTHEO 2000Artist PaperMichelangelo        “I saw the angel in the marble and carved until I set him free” – Michelangelo. How can one define an artist? Is it even possible to put a single sentence as a description? It seems that the most prominent artists of all time see art while others see something as it is. In the quote above, Michelangelo sees the angel in the marble, while most others would simply see marble, maybe as potential to be a granite countertop. Most people look at a piano and they see a big box full of wooden sticks with pedals, while Ludwig van Beethoven saw a masterpiece of harmony waiting to happen. The story of Michelangelo will show us how he came about viewing, what most people see as objects, art, in its true form, and how he made an amazing connection theologically to send an incredible message to the world.        Michelangelo was born March 6, 1475 in Caprese, Tuscany, just about an hour south of Florence. He was born into a family of smaller-scaled bankers, which unfortunately the business had failed when Michelangelo was still just a young boy. Luckily his father was able to take his skills into politics and take a governmental role with the town of Caprese, and a different administrative role in the little city of Chiusi. Unluckily, Michelangelo’s mother passed away when he was only 6 years old, forcing him to move in with a local family who owned and operated a farm. One of the other skills of the family was stonecutting, where Michelangelo began to learn what would be his amazing work, like the Madonna of the Stairs in 1492. “If there is some good in me, it is because I was born in the subtle atmosphere of your country of Arezzo. Along with the milk of my nurse I received the knack of handling chisel and hammer, with which I make my figures”. – Michelangelo
Michelangelo was sent to Florence as a young boy to study grammar, while instead he found no interest in studies, and began copying and following the works of other painters. One of which was Giotto in the Branacci Chapel. One of the more influential to Michelangelo was Domenico Ghirlandaio, a professional in fresco painting, who had his own shop in Florence at the time. When Michelangelo was 13, he was first apprenticed to Ghirlandaio, and that following year, he was considered an artist at the age of 14, which was extremely rare in that time period. Ghirlandaio then sent him to Florence upon Medici’s request. To put things in perspective, it is quite incredible that a 12 year old boy knew what is life passion would be. Most people do not figure out an occupation to pursue until their late 20s or early 30s. The fact that Michelangelo found such an amazing talent and passion at such a young age is something to consider when we compare him to other artists of his time, and the history of the free world.
The Renaissance: A Historical Document
Girlandaio’s work was highly regarded among his contemporaries. However, the process of drawing, creating, and painting was not always without its limitations. Michelangelo, however, realized that the power of colors and forms was a power far superior to that of time. Instead of just drawing with a straight line, he would draw with a circular one. During those early 16th century, when painters were starting to create, his artists began moving the stylistic lines around a bit to become more pleasing. These stylistic changes brought a shift to the overall texture of the work, and by then Michelangelo was very aware of the limitations of these particular mediums: he saw the distinction between colors and their meaning as a distinction to be made between a picture and a work of art.[1] As a result, he was able to draw colors that are still recognizable in their original form, a point that would not have otherwise applied. His work could not be seen without becoming, as he had claimed for so long a time, a great poet. This was what gave Michelangelo the sense that being great and lasting—all things on the one level—is not an art art. He knew what he wanted, and he wanted artists who held that desire to be successful, such as Michelangelo. Thus, by the end of the 16th century, people began to see the fact that they still had the power to create with the medium their desire. And Michelangelo realized that the work could also be read in terms of its context.
The Renaissance: A Cultural Enigma
With the advent of the French Revolution, Louis XVIII’s vision for modern art was to make art that truly has its origins in the art of art. This was achieved by using artists who had already been exposed to the social and political turmoil in Europe before they even turned 20, such as Michelangelo and Raphael. In the first two paintings that were made with these artists were the works by the young, Romano Dalla Francesca and the younger Giorgio Amondetta, both with their masters at Montpellier.[[2] Dalla Francesca was a young schoolteacher who made a life-saving decision of not painting his first portrait to show that the French Revolution was not a revolution; when Amondetta died in 1688, his painter and first portrait artist, Antonio de Venezia, was only 25. Dalla Francesca’s work was a portrait with a different colour scheme and design, but the painting itself had one of Michelangelo’s signature color schemes. In addition, he changed the painting to emphasize the power of different shades of browns and yellows,[3] as well as the effect it had on colors. The color palette and the formality of each work depended on the artistic intent of the artist, and the color palette was a personal decision for Michelangelo. During the late 14th century, French artist Jean LillĂ© began to think more heavily about the use of colors. His paintings often represented art created with the most intense color palette that could stand up to the current modern era.[4] Through Claude Michel, who, as Giorgio Amondetta, was a major member of the Renaissance, Dalla Francesca created new works to reflect this unique color palette of Michelangelo’s.
In later years Michelangelo learned of Michel’s work on his own. According to the latest edition of “The Renaissance in the Old and New World”, he was a student of Giorgio Amondetta and of Dalla Francesca at the same time, so he continued drawing. These two artists also created works with different color schemes and they collaborated extensively again during the period in which the art was still young enough.[5] During the late seventeenth century, Dalla Francesca became a master of the painting of