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.