(e) depicting michelangelo
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Depicting Michelangelo: the meaningfulrepresentations of the artist
Paulo Martins Oliveira
As argued in parallel studies1, the artists of the 15th, 16th and 17th centuries were often main
actors in the depicted scenes, either through realistic portraits, or more commonly through
symbolic representations, some times as part of superimposed layers of meaning that express the
rivalries and complicities with other masters.
This paper focuses on the case of Michelangelo Buonarroti (1475-1564), several times presented
in a meditative and distant posture.
By himfsel By Rapahel By Titian By Delacroix
1 Books: Leonardo x Michelangelo,Jheronimus Bosch, Separata 1; articles: The L(eonardo) and the S(alai), etc.
- Available for consultation
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In turn, this kind of depiction encodes even deeper superimposed messages.
For instance, the shown detail from Raphaels The School of Athensis actually sarcastic, and for this
purpose the artist used subtle duplications (a resource developed earlier by painters such as Jan
van Eyck and Rogier van der Weyden).
Raphael stabbingMichelangelo
The true contemptibleMichelangelo
The false peacefulMichelangelo
The symbolic linkbetween the two
Subtle inconsistencies, expressing thefalsehood of the depiction (Michelangelo isseated on air, and the connection betweenthe table and the steps is incoherent)
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Inset
Illustrative complementary example: The Procuress, by Vermeer,one of many uses of concealed duplications.
RembrandtSel-portrait with Saskia
Frans van MierisBrothel scene
The corpseof the Dutch lion
The ProcuressSymbolic duplication of Vermeer,
with Maria Thins and Catharina Bolnes(also symbolic portraits)
In the Procuress, Vermeer accurately superimposed different layers of meaning, forwhich he duplicated himself. In fact, in order to encode messages, certain hidden devicesand symbolic mecahisms were being surreptitiously developed and improved since the14th/15th centuries, reaching a peak of originality in the 17th century (Caravaggio,
Velzquez, Rembrandt and Vermeer, among others. Probably, Velzquez's Las Hilanderasis the mos ingenious painting in the History of Art).
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Continuing the analysis on Michelangelo, an even more allegorical case can be found in Tityus, by
Titian.
Tityus (Tizio in Italian) represents Titian (Tiziano in Italian, Titianus in Latin), whereas the
great eagle symbolizes Michelangelo.
Indeed, at that time those main Italian painters were called eagles (Francisco de Olanda, 16th
century), and the inclusion of that bird of prey (instead of the two vultures) also indicates that
Titian merged the original story of Tityus with the legend of Prometheus, following precise
objectives, involving precisely Michelangelo2.
Moreover, the eagle even has a supposed N, which is actually an Aleph (Alef), corresponding to
the symbolic self-representation of Michelangelo in the Sistine Chapel.
2 The context that frames this symbolism is complex and will be presented in another study.
ALEF Vand monstrousportrait of theartist (below),resembling the
flayed skin in theLast Judgment
N / Aleph (Alef)
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But on other occasions, the inclusion of Michelangelo intends to honor him, as seen in the
Assumption of the Virgin, by Daniele da Volterra, actually an ingenious and loyal painter, unfairly
nicknamed il braghettone.
An interesting case can be found in the complex Supper at Emmaus, in which Michelangelo da
Caravaggio evoked the late Michelangelo Buonarroti as an allegorical bad thief, crucified with
his arms behind the crossbeam.
Depictions of Michelangelo,by Volterra
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Michelangelo is not being criticized, but rather presented as a renegade maverick, with whom
Caravaggio identified (the standing waiter).
A curious neutral perspective is verifiable in Giorgiones Three Philosphers.
Ignoring the disputes between Michelangelo and Leonardo, Giorgione is fascinated by his ownoncoming death.
Michelangelo,by Bonasone
Giorgione,by himself
Michelangelo,by Bugiardini
Leonardo,by himself
3 About the symbolic portraits of Leonardo, see the schemes in the articles The L(eonardo) and the S(alai)
and O falso Paraso de Tiziano.
The great head (intellect) of therecently deceased Botticelli (1510),
on which all are based.
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Det.
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The examples presented in this study show how artists used their ingenuity to superimpose
specific layers of meaning, in which they are the real protagonists.
In conclusion, many artworks are complex pieces of symbolic engineering, making necessary a
profound reformulation of the historiographical concepts and approaches.
2013
Inset
Symbolic portraits of Leonardo da Vinci
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