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Good job mentioning how Michelangelo was a better sculptor. At first I thought it was just bc the role fit him better as nobody else was mainly a sculptor and he also defended it from Leonardo Da Vinci’s attacks but I appreciate how you mentioned that he was a better sculptor and said he enjoyed it more so I learned something.

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Aiden, I definitely enjoyed reading your opinion on Michelangelo and why he was more of a sculptor than a painter. Although I disagree with your opinion, I can see how you would feel about him being more of a sculptor than an actual painter. Michelangelo definitely had much influence both in sculpture and in painting.

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I believe that Michelangelo was a much better sculptor than he was a painter. First of all, Michelangelo preferred sculpture over paintings. In fact, when Pope Julius gave Michelangelo the commission to paint the ceiling of the Sistine Chapel, he refused because he felt that he was more of a sculptor than a painter. Although Michelangelo made this argument, he was later forced to paint the ceiling despite the fact that he did not want to. In addition, I believe that Michelangelo was a greater sculptor because his sculptures depict a great amount of emotions and tensions that are obvious by the way that the figures are posed. For instance, in his sculpture of Moses, his pose and swift movement of his head help show the emotions being portrayed, which in this case, is anger. Also, in David, his head is turned towards the giant Goliath and his posture and big hands and feet help to depict the victory that is about to come. In the tomb of Giuliano de' Medici, the personified figures of Night and Day are contorted representing tension. I feel that all of Michelangelo’s sculptures portray such a deep meaning beyond what is just shown. In his depiction of Moses, he is very angry but we do not see who Moses’ anger is directed to although we know that it is directed to his people that were worshiping false gods.

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Tomb of Giuliano de Medici(New Sacristy)

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Tomb of Giuliano de Medici(New Sacristy)

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Michelangelo was commissioned to work on a funerary chapel following the death of Giulio de’ Medici. The chapel was to be constructed next to San Lorenzo chapel. The main purpose of the chapel was to be the tomb of the young family heirs, Giuliano and Lorenzo. Their graves give different feelings, which are attributed to their personality. Giuliano was expressed as vibrant whereas Lorenzo was more introverted. Michelangelo finished neither tomb, so his students finished the rest of the tomb and they are on the opposite sides of the New Sacristy. In Giuliano’s tomb, he is wearing Roman armor and below him are 2 nude figures. These figures represent night and day. The bodies of these figures are contorted which represent tension. Michelangelo often uses contorted bodies in his works, as seen in the Bound Slave and the Sistine Chapel. These two figures are meant to represent the cycle of life and the passing of time. To the left is the female Night. Night has a more masculine body shape because back then it was not common for a woman to pose nude for an artist. Night's contortion could also represent troubled sleep. On the right is the male Day, who, like Night, is contorted.

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This sculpture was commissioned in 1505 by Pope Julius II. It depicts Moses the moment that he sees that his people have started idolizing the Golden Calf. This moment depicts the biblical figure after coming down from Mount Sinai with the commandments, which he breaks due to the rage he experiences after he sees that his people are idolizing false gods. Michelangelo perfectly displayed the anger that Moses had in this sculpture, as seen by the indication of swift movement in the fact that the beard whips to the opposite direction of his head. Also, his left leg and hips shift while his torso, which represents the power and tension. As seen in the sculpture, Moses has horns. These horns came from the fact that Moses had rays of light shining down on him, so Michelangelo depicted them as horns.

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Michelangelo sculpted David, a biblical figure that fought the giant Goliath. This sculpture depicts David before he fought Goliath, holding his sling or weapon over his shoulder. His head is turned towards the unseen Goliath, which is his opponent. Michelangelo had a great amount of respect for the Greco-Roman sculptures, as seen by him making David nude. The appearance of the body signifies that David will be victorious in this battle. For instance, his rugged torso and big hands and feet help symbolize his future triumph. His swelling veins help show the energy of the pose that David is making.

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This artwork shows Mary while she holds Jesus on her lap after the crucifixion. The sculpture displays the youthful Mary as she mourns for Jesus, her dead son. One interesting feature of this sculpture is that Mary appears to be younger than her son. When this controversy arose, Michelangelo explained that her ageless beauty is the main points of her purity and her virginity. In addition to this, adult Christ is small in relation to Mary. Christ’s wounds are barely visible. It is now located in Saint Peter’s Basilica in Rome.

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Textbook pages 649-650(Tomb of Giuliano de' Medici)
Textbook pages 646-647(David)
Textbook page 646(Pieta)
https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/michelangelo/a/michelangelo-moses

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Moses (marble sculpture) (article) | Khan Academy

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