Revised Thesis

The Unfinished Slaves ironically represent the situation Michelangelo found himself in while working on the Tomb of Pope Julius II. The sculptures, as a part of the Tomb, were infrequently worked on for the greater part of Michelangelo’s life, as he was torn between them and the other patrons that commandeered him. He became enslaved to the conflicting contracts, and this state is reflected in the unfinished sculptures which he harboured in his apartment until his death.

Syllabus assignment

Course Outline

The title of my course is called The Scultpure, Scandal, And Unfinished Business of Michelangelo. The topic will surround Michelangelo’s commission of the Tomb of Pope Julius II, his other commissions and dealings with patrons during the same time, and the unfinished sculptures from the Tomb. It will be composed of 4 sections that will give students the knowledge to fully understand the context of the commission, the artists position, and the sculptures themselves.

Section One: Classicism & Sculpture

 This section will spend time explaining the history of classicism in Renaissance Italy, how the styles of ancient Greece influenced many artists, and how the revival of Classic literature and philosophy influenced the whole Italian society. The classical style embodies a more formal, dignified, restrained, and less emotional figure. This is important to understand because their ideas of beauty and perfection came from these past sources. More emphasis will be placed on the popular classic style of sculpture and how it is seen throughout the work of Michelangelo as well as his contemporaries. Students will be presented with the figures of the Unfinished Slaves, and asked to find classical elements as well as contrary elements.

Questions:

-          Can the classical style be seen in the unfinished figures of Michelangelo’s Slaves? What are the significant differences?

-          Why might these figures seem more “emotional” than Michelangelo’s other sculptures?

Section Two: The Patron & The Artist

                The relationship between patrons and artists is absolutely vital to understanding the context of artwork in the Renassiance, and especially to understanding the Tomb of Pope Julius II and Michelangelo’s unfinished sculptures. Before looking at that commission, students will be taught about the important role patrons played in developing Renaissance artists and artwork. This includes discussing their contracts, financial support, materials, norms and expectations, and how the value of artwork was culturally constructed. This is important because these details and relationship between the patron and artist would influenced how the art and objects ended up looking. Papal commissions, and the church as a patron will be emphasised.

Questions:

-          Who has more power in the patron/artist relationship? How do these contracts ensure this?

-          How do these contracts affect the final product of a commission?

-          Which types of patrons do you think would provide the most esteemed commission?

Required reading:

Burke, P. (1986). The Italian Renaissance: Culture and Soceity. Cambridge: Polity Press. Pg. 88-123

Section Three: About Michelangelo

                This section will give a brief biography of the artist, and look more at his contemporary writings by Vasari and Condivi. He was the first Renaissance artist to have a biography published during his lifetime, which was written by Vasari. Shortly after, a rival biography was written by Asciano Condivi, who was also a close friend of Michelangelo’s. Within this section, students will also learn about Michelangelo’s personal theories of sculpting and specifically how he viewed his craft as the “freeing” of the figures from stone. They will look briefly at a number of his completed sculptures, such as the Pieta, David, and the Tombs of Guiliano and Lorenzo de’ Medici.

Questions:

-          How is Michelangelo portrayed by his peers? What are some of his major characteristics?

-          Are there any themes or differences between the two portrayals?

-          What was Michelangelo’s view on sculpting? How would this view have influenced his character?

-          Do you think Michelangelo was unique among other sculptors?

Required readings:

Burroughs, B. ed. The Essential Vasari. Londond: Unwin Books. 1962. Pg. 178-216.

Condivi, A. Life of Michel-Angelo. Penn State Press. 1999.

Section Four: The Tomb of Pope Julius II

                This will be the largest section of the course, and will follow the narrative of Michelangelo’s dealings with Tomb of Pope Julius II and requests and commissions of following Popes (firstly, Clement VII). Here students will learn about all three contracts drawn up between Michelangelo and Pope Julius’ family, the della Rovere’s. Primarily, emphasis will be on the clause in the contracts which prohibited Michelangelo from taking on other sizeable work that would impede with the production of the Tomb. This will be important when analysing the events that brought Michelangelo to undertaking other projects, which arguably went against his initial contract to Julius II’s tomb. Different accounts say different things, one that he pleaded against the project with Pope Clement VII (Ramsden), while another states he was happy to take it on (Coughlan). These differences are important to understanding the nature of Michelangelo’s intentions. It is clearer later on that once he had been committed to both projects he was stressed and guilt-ridden, and his reputation was put in a compromising position.

Questions:

-          How were the contracts of the Tomb of Pope Julius II changed over Michelangelo’s lifetime? Why do you think these changes were made?

-          From reading both accounts of the story, what do you personally think Michelangelo’s intentions were with each commission?

Required reading:

Ramsden, E. H. The Letters of Michelangelo. London: Peter Owen Limited. 1963. Pg. 249-258.

Coughlan, R. The World of Michelangelo. New York: Time Life Inc. 1964. Pg. 151-167.

Letter from a Florentine aritst

You are a fictional Florentine artist living in the time of Vasari and you

are determined to write an autobiographical essay that provides a realistic

portrait of your life. In this essay, address your training, status in the city,

how you work with patrons and professional organizations, your artistic

influences and views on Northern European material culture. How does

the society in which you live help to shape your artistic output?

As now an established artist of Florence, I am preparing this essay as a portrait of my life. From my humbled beginnings in Padua, my fortune found under apprenticeship of none other than Lorenzo Ghiberti, to my first major work and my many esteemed commissions thereafter. My work has been greatly influenced by my rigorous training with Ghiberti, my guild Compagnia di San Luca

, as well as the greatest classical artists from whose works I have studied also. I would like to highlight my greatest project completed to date which has come from the patronage of Piero I de' Medici.

When I was only 7 years old, I traveled to Florence to begin labouring in exchange for training. This time as an apprentice gave me the experience I needed to become a journeyman in my chosen craft of sculpting. My studying and training with Ghiberti was quite onerous, but it provided me with the skills I needed, and for those I was willing to endure. When I completed my masterpiece and joined Compagnia di San Luca I was intrigued by the complexity of economics of our trade, and yet thankful that this regulatory body was here to protect us craftsmen. I was provided with further training in areas, and took advantage of these to hone my skills even further. No more than after my entry into the guild, I decided to compete for the commission of a new cathedral's door panels, just as Ghiberti had done before me. Perhaps it was his experience in this area that translated into my training and aided me in the competition, because it was unanimously decided that my art should adorn the cathedral doors! 

Though this was a huge accomplishment, especially for such a young person, it paled in comparison to my most celebrated work for The Chapel of Princes in the Mausoleum of the Medici Family. This prestigious commission gave me a status among artists I could have never dreamed for. Though artists in the day were already quite well-respected and revered, I felt a great deal more distinguished after the completion of my decoration of the Chapel of Princes. Italian society, and Florentine society especially, had a large hand in my flourishing career. 

I am inclined right now to pursue a wider variety of compositions, and have begun studying architecture, mathematics, and botany through the factions of my guild. I have also began participating in dissections of the human body in an attempt to gain knowledge on the figures that I create in marble and in paint. Though I have studied anatomy thoroughly, my colleagues tell me that there is still much to be learned from the direct exploration of the human body. These dissections are not prohibited, but they are also not completely allowed either.  

Over the course of my life so far here in Florence, I am fortunate for the rulers of the city, who propagate our society`s interest in artistic work and revere artistry in so many public forms. I am thankful also for the training I`ve recieved under Ghiberti, and the other masters of the Compagnia di San Luca. The future for me will hold many more opportunities, in sculpting and painting, but also through polymathy. 

Vasari's map of Florence

Why Study Art History?

Art history is a subject that has always interested me, as has the study of both art and history separately. The most valuable things we can learn from any study of history are perspective, knowledge, and appreciation, which all are vital to cultivate a truly intelligent mind. The study of art history is no exception, especially to those who are involved with art in any way; Whether it be producing their own work or interacting with other’s.

Yet even to people who don’t have a direct connection with artwork this study is useful. Art history provides a window into the lives of ancient peoples and the workings of their societies. Learning the tools of interpreting and analysing historical works gives students experience that can be applied to many other areas of their lives, studies, and careers. The principles of analysis, critical thinking, and research that we use in art history are absolutely vital to most other areas of our lives, and instill better critical and analytical skills in students. The research component of art history is also extremely practical, because it gives a multi-dimensional research of both primary and secondary, visual and textual resources.

More Reflections

There is a lot I've learned about the context of the slaves, and much more intrigue, and even scandal, surrounding the commission and original project. It was definitely a surprise to find out about the "shady" dealings Michelangelo had with his patrons, and the accusations of embezzlement that were pointed at him.
I've had a chance to look at other sculptures styles, techniques, and criticisms as well as critiques and evaluations of Michelangelo's work. I was also surprised to learn that there was a certain heavy value put on the unfinished works which were mainly advocated by Vasari, who claimed that even in an incomplete state they were better and more spectacular than the works of Michelangelo's contemporaries.
From looking at similar sculptures of slaves at that time, such as the two Michelangelo did complete for the tomb, I believe that the form of the  incomplete 4 are actually much more powerful in displaying slavery and representing the figures as slaves. And I believe still that Awakening Slave is the most prominent in this aspect among them.

Exploring & finding answers

In uncovering the possible answers to many of these questions, I'll need to find some good sources. Through preliminary research I've managed to find a few good leads. The Art Bulletin is a publication on many aspects of art history, and in volume 57 Juergen Schulz writes an article called Michelangelo's Unfinished Works.  In volume 65 Edith Balas also writes Michelangelo's Florentine Slaves and the S. Lorenzo Façade, which goes over the history and context under which the slaves were found and the account of their purpose and commission. In volume 19, Erwin Panofsky writes about the original project of Pope Julius II's tomb, including many spiritual purposes of the sculptures.

An article titled Michelangelo's Slaves and the Gift of Liberty from Renaissance Quarterly provides a history and account of the project commissioned by Pope Julius II, and how the sculptures' purpose changed to more political. It also partially explains how the sculptures were passed on and whose possession they came to be in instead of as a part of the tomb.

Creighton E. Gilbert has written an article called What is Expressed in Michelangelo's Non-Finito, which goes over how these were viewed and valued around the time of Michelangelo's death, and how other similar unfinished works were viewed at the time also. There is a comparison of Michelangelo with other artists such as Donatello and Benedetto de Maiano. The article is found in Artibus et Historiae.

Other sources available could help me in uncovering the answers by providing insight into the context of renaissance artists and how patrons valued artwork.

Balas, Edith. (1983). Michelangelo's Florentine Slaves and the S. Lorenzo Façade. The Art Bulletin, 65(4), pp. 665-671.

Carabell, P. (1997). Image and Identity in the Unfinished Works of Michelangelo. RES: Anthropology and Aesthetics, No. 32, pp. 83-105.


De Tolnay, C. (1954). The Tomb Of Julius II. His Michelangelo. Vol. 4, p. 163-166.

Gilbert, C. E. (2003). What is Expressed in Michelangelo's Non-Finito. Artibus et Historiae. 24(48), pp. 57-64.

Panofsky, Erwin. (1937). The First Two Projects of Michelangelo's Tomb of Julius II. The Art Bulletin. 19(4),  pp. 561-579.

Ruvoldt, M. (2012). Michelangelo's Slaves and the Gift of Liberty. Renaissance Quarterly, 65(4), pp. 1029-1059.


Schulz, J. (1975). Michelangelo's Unfinished Works. The Art Bulletin, 57(3), pp. 366-373.

A Revised Visual Analysis

Looking closer again at Awakening Slave, I'm able to come up with a revised visual analysis. There are many undefined shapes that make up the majority of the forms in the marble. The raw marble remaining un-sculpted resembles a flawed and uneven rectangular block. This shape is almost reminiscent to a cage; the missing areas of  rectangle, which make up the form of the man, are found inside of the block.

The lines used to create the shape of the slave are very curvaceous, round, and fluid. The parallel lines of the whole body is curved into a twisted and fluid motion from his head, through his shoulders and torso, and curving again in his legs. The lines carved to create his abdominal muscles all follow the same curves. It seems as though the way his body is curved expresses his struggle, and he appears to be writhing around in the marble. There are essentially no significant lines in the uncut sections of  marble, which makes the lines and form of the slave more of a contrast. The arms are both reaching away from the body and are both bent at the elbow. Those points face outward from each other, widening the chest of the slave further.

If I were to draw a simple diagram of this sculpture the main shapes would be the generally rectangular marble block encasing the slave. Inside would be the form of the body, with a very curved torso and large  protruding chest. The curve of the body would be a very important feature to emphasise, as well as the bent arms and legs, especially his left knee which protrudes most, that is bent in front of the other leg. 

The face I would include also, mainly because I think the direction the head is turned is important, and how closely the facial features are to the uncut marble is also important in the expression. 

Elements that I would exclude would be the detail of the exact shape of the surrounding marble. I don't see the exact shapes as being significant, because it all sort of molds together to form a basic larger object, and resembles more of a semi-solid substance. The presence of it is what is most impactful, but the exact and specific details of the shapes are less-so.

The colour of the sculpture is very basic, obviously because it is only composed of one substance of the same colour; white marble. However, the texture of the marble in different areas creates the presence of shadows and therefore different shades of the marble. The rough and uncut stone appears to be a different colour and substance because of the specks of shadows on the surface. This is opposed to the more smooth, and therefore lighter, surfaces of the slave's body. Overall, the mood these shades create is one that is quite stark and powerful despite it's incredibly limited range of colour.

It is difficult to pinpoint one main focal point, since this sculpture can be viewed from many different positions. However, when viewed straight on facing the  front of the sculpture, the obvious focal point is the chest. where the chin and shoulder and arm seem to frame. I think his chest is an important place to pay attention to because it doe create the sensation of breathing, and that the sculpture could be in fact alive. It emphasises the motion and energy the man could be exerting.

Our gaze is drawn to this area for a number of reasons. Firstly, it protrudes quite a bit from the marble, and it's smooth surface is in stark contrast to rougher substance around it. Secondly, his right arm and shoulder bend and frame this area along with the chin and beard of the turned head. There are details in the neck too that stand out and draw attention to the area, with vertical lines and shadows pointing downward from the head. The pectoral muscles lines also of the pectoral muscles 

This subject is a male, whose identity is not specified or recognizable, apart from the fact that he is a slave. However, I'm not yet sure whether or not he was originally intended to be a slave, or if over time and context he has become known as a slave.

The emotion expressed by the figure to me is most prominently desperation or distress, as well as intense strength and exhaustion. The body of the man is depicted with muscular definition, giving him the appearance of strength. Yet, in his position he also seems exhausted and struggling. This combination expresses a lot of power between both him and the substance that holds him.

There is no external objects or environment, so to speak, included in the sculpture. Only the surrounding uncut marble that now creates the space around the man. 

There are no other indications of any other surrounding environment, or location in time or space.

Through my research so far, most information is on the original project, the tomb of Pope Julius, and all the surrounding controversy of it. The commission is said to have been potentially Michelangelo's biggest and most important work, but it turned out to be a waste of time for him and earned him a somewhat scandalous reputation with allegations of embezzlement. Though this is very interesting, I havent been able to find a lot of information on the actual sculpture itself.

I think the topic of my paper will definitely need to take this aspect of the history of the commission into account. I would really like to find more information on the specific intentions of the sculptures themselves, however if this information is not available I will turn my focus to comparing them to similar projects of tombs during that time period. 

Questions to explore

These pieces are thought provoking and quite mysterious, and leave me with many questions to explore.
Since they are incompleted, we are able to view "mid-procedure" how Michelangelo underwent in his sculpting. What were regular sculpting practices at that time? And did the technique used by Michelangelo differ to the conventional practices? We know about how he understood his art as "freeing" objects from within marble, but was this view of sculpting unique in his time?
Why were these sculptures preserved after Michelangelo's death? Were they seen as being valuable back then, the same way they are today, despite being incompleted? Michelangelo was indeed hugely famous in his life, but I do find it questionable that they would have been valuable enough back then for people to keep safe or collect. Or was is more favourable circumastances that have kept them around for so long? Were they appreciated back then as they are today, or was the context of their value different? Was is just by chance or luck that they have survived?
I am also interested in how religion may have played a role in the patronage and the conception of the pieces. They were purposed for the tomb of a Pope, and so I would assume the original design would have had a major spiritual significance. Despite being commissioned by a religious figure, the fact they were intended to adorn a tomb leaves adequate room for assumptions that they would have had a functional religious purpose. What would those purposes have been?
Related to that is the question of whether or not they were originally intended to be slaves, or if today we have come to know them as the slaves due to the context of the time, the artist, and the form which they were left in. What would they have been if they were completed? And assuming they would have had a spiritual meaning, what could their function have been?
Taking the style of these pieces into account, I am curious about where Michelangelo found his inspiration. As a preliminary guess I would say a Greek or Eastern influence. Where did he find his sculpting inspiration for not only these slaves, but for the rest of his marble pieces?

More Awakening Slave II

A view of the Awakening Slave in the foreground, at the Accademia, with David in the background. A new angle, and also interesting again to see it's size compared to other objects in the room.

"Interior View of the Gallery with Michelangelo's 'Awakening Slave' and 'David' in the Background". No date. Online Image. All Posters. January 22, 2012. 

<http://www.allposters.co.uk/-sp/Interior-View-of-the-Gallery-with-Michelangelo-s-Awakening-Slave-and-David-in-the-Background-Posters_i7677963_.htm>

More Awakening Slave

"Awakening Slave". No date. Online Image. Study Blue. January 22, 2012. <http://www.google.ca/imgres?um=1&hl=en&tbo=d&authuser=0&biw=1092&bih=480&tbm=isch&tbnid=HokrKGk7c6cuPM:&imgrefurl=http://www.studyblue.com/notes/note/n/the-high-renaissance-leonardo-raphael-michelangelo-and-bramante/deck/1867009&docid=IcUEh0war8nHkM&imgurl=http://classconnection.s3.amazonaws.com/100/flashcards/1071100/png/41327273901705.png&w=664&h=1097&ei=kdoAUZ6lDK2UjAKr9YHoCg&zoom=1&iact=rc&dur=361&sig=104518276566745611726&page=2&tbnh=125&tbnw=80&start=19&ndsp=24&ved=1t:429,r:22,s:0,i:150&tx=22&ty=50>