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Overall I think that was a well organized and well structured padlet. I really like how he wrote information about the artworks and then explained why he things Michelangelo should be considered a sculptor. I like how when describing why his sculptures were so influential, he not only said that he was skilled but also included how he put extreme detail into it such as the veins on the David sculpture.

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http://www.italianrenaissance.org/michelangelos-david/
https://michelangelo.ace.fordham.edu/exhibits/show/vatican-pieta/vatican-pieta-history

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Michelangelo carved a number of works in Florence during his time with the Medici, but in the 1490s he left Florence and briefly went to Venice, Bologna, and then to Rome, where he lived from 1496-1501. In 1497, a cardinal named Jean de Billheres commissioned Michelangelo to create a work of sculpture to go into a side chapel at Old St. Peter's Basilica in Rome. The resulting work - the Pieta - would be so successful that it helped launch Michelangelo's career unlike any previous work he had done.

Michelangelo claimed that the block of Carrara marble he used to work on this was the most "perfect" block he ever used, and he would go on to polish and refine this work more than any other statue he created.

The scene of the Pieta shows the Virgin Mary holding the dead body of Christ after his crucifixion, death, and removal from the cross, but before he was placed in the tomb. This is one of the key events from the life of the Virgin, known as the Seven Sorrows of Mary, which were the subject of Catholic devotional prayers. The subject matter was one which would have probably been known by many people, but in the late fifteenth century it was depicted in artworks more commonly in France and Germany than in Italy.

This was a special work of art even in the Renaissance because at the time, multi-figured sculptures were rare. These two figures are carved so as to appear in a unified composition which forms the shape of a pyramid, something that other Renaissance artists (e.g. Leonardo) also favored.

An examination of each figure reveals that their proportions are not entirely natural in relation to the other. Although their heads are proportional, the Virgin's body is larger than Christ's body. She appears so large that if she stood up, she would likely tower over her son. The reason Michelangelo did this was probably because it was necessary so that the Virgin could support her son on her lap; had her body been smaller, it might have been very difficult or awkward for her to have held an adult male as gracefully as she does. To assist in this matter, Michelangelo has amassed the garments on her lap into a sea of folded drapery to make her look larger. While this drapery serves this practical purpose, it also allowed Michelangelo to display his virtuosity and superb technique when using a drill to cut deeply into the marble. After his work on the marble was complete, the marble looked less like stone and more like actual cloth because of its multiplicity of natural-looking folds, curves, and deep recesses.

In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Michelangelo's talent in carving drapery is matched by his handling of the human forms in the Christ and the Virgin, both of whom retain a sweet tenderness despite the very tragic nature of this scene. This is, of course, the moment when the Virgin is confronted with the reality of the death of her son. In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Christ, too, is depicted almost as if he is in a peaceful slumber, and not one who has been bloodied and bruised after hours of torture and suffering. In supporting Christ, the Virgin's right hand does not come into direct contact with his flesh, but instead it is covered with a cloth which then touches Christ's side. This signifies the sacredness of Christ's body. Overall, these two figures are beautiful and idealized, despite their suffering. This reflects the High Renaissance belief in Neo-Platonic ideals in that beauty on earth reflected God's beauty, so these beautiful figures were echoing the beauty of the divine.

Around the time the work was finished, there was a complaint against Michelangelo because of the way he depicted the Virgin. She appears rather young - so young, in fact, that she could scarcely be the mother of a thirty-three-year-old son. Michelangelo's answer to this criticism was simply that women who are chaste retain their beauty longer, which meant that the Virgin would not have aged like other women usually do.

Another noteworthy incident after the carving was complete involves the inscription on the diagonal band running over the Virgin's torso. Vasari tells us about the reason for this inscription in one of his passages about the life of Michelangelo:

Here is perfect sweetness in the expression of the head, harmony in the joints and attachments of the arms, legs, and trunk, and the pulses and veins so wrought, that in truth Wonder herself must marvel that the hand of a craftsman should have been able to execute so divinely and so perfectly, in so short a time, a work so admirable; and it is certainly a miracle that a stone without any shape at the beginning should ever have been reduced to such perfection as Nature is scarcely able to create in the flesh. Such were Michelagnolo's love and zeal together in this work, that he left his name a thing that he never did again in any other work written across a girdle that encircles the bosom of Our Lady. And the reason was that one day Michelagnolo, entering the place where it was set up, found there a great number of strangers from Lombardy, who were praising it highly, and one of them asked one of the others who had done it, and he answered, "Our Gobbo from Milan." Michelagnolo stood silent, but thought it something strange that his labors should be attributed to another; and one night he shut himself in there, and, having brought a little light and his chisels, carved his name upon it.
Vasari's Lives of the Artists

This was the only work of Michelangelo to which he signed his name.

The Pieta became famous right after it was carved. Other artists started looking at it because of its greatness, and Michelangelo's fame spread. Since the artist lived another six decades after carving the Pieta, he witnessed the reception of the work by generations of artists and patrons through much of the sixteenth century.

In more modern times, the Pieta has experienced some colorful events. In 1964, it was lent to the New York World's Fair; afterwards, Pope Paul VI said it wouldn't be lent out again and would remain at the Vatican. In 1972, a Hungarian-born man (later found to be mentally disturbed) rushed the statue with a hammer and started hitting it, including the left arm of the Virgin, which came off, and her head, breaking her nose and some of her left eye. Today, you can visit the statue in New St. Peter's Basilica in Rome.

Further Reading
Michelangelo: The Complete Sculpture, Painting, Architecture
, by William E. Wallace

Michelangelo: The Achievement of Fame, 1475-1534, by Michael Hirst

Michelangelo and the Reinvention of the Human Body, by James Hall

Michelangelo's "Pieta" Statue Replica

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Michelangelo carved a number of works in Florence during his time with the Medici, but in the 1490s he left Florence and briefly went to Venice, Bologna, and then to Rome, where he lived from 1496-1501. In 1497, a cardinal named Jean de Billheres commissioned Michelangelo to create a work of sculpture to go into a side chapel at Old St.

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Michelangelo Buonarroti, Bound Slave (Rebellious Prisoner), Rome, Italy, ca. 1513–1516. Marble, 7’ 5/8’’ high. Musée du Louvre, Paris.

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Michelangelo Buonarroti, Bound Slave (Rebellious Prisoner), Rome, Italy, ca. 1513–1516. Marble, 7’ 5/8’’ high. Musée du Louvre, Paris.

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Michelangelo, Moses, from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1515. Marble, 7’ 8.5’’ high. San Pietroin Vincoli, Rome.

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I believe that Michelangelo should be known more as a sculptor than a painter because of the influence his sculptures have had, as well as his expert technique displayed by them. While the Sistine Chapel artworks are arguably one of the most well-known artworks, the extensive influence and expertise displayed by sculptures like Pieta or David better demonstrate Michelangelo’s artistic ability. Not only do these sculptures display his magnificent ability to sculpt marble, but they are able to also display strong emotion and specific details. One example of this behavior is the Pieta, which displays the Virgin Mary holding Jesus’ body. In this work, the audience can clearly see the sad expression Mary has on her face, as well as Jesus’ lifeless body. Michelangelo was able to take Jean de Bilhères de Lagraulas‘ commission and truly make it a work of art. Also, this depiction parallels to the image of the Virgin Mary holding baby Jesus in her lap, except now she contains a deeply sorrow expression. Finally, Michelangelo was able to use the respective sizes of both Jesus and Mary in order to contrast the typical large body and smaller Mary/

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Another artwork that demonstrates Michelangelo’s artistic ability is Moses. In this sculpture, one can notice the extreme detail taken into account when the muscles were being sculpted. This, along with Moses’ serious expression and detailed drapery, continue the exhibition of Michelangelo’s ability. Another work that shows his expertise is the statue of David. While other artists decided to portray him as a younger boy, Michelangelo displayed David as a larger man who looks confident and brave. In this sculpture, the details of human anatomy and expression are visible as David seems like a lifelike portrayal of himself. Having the ability to create something so precise and detailed from a rock, highlights Michelangelo’s artistic creativity and skill as a sculptor. Not only was this a regular rock, but he was able to recycle the rock from another sculptor who disliked it and create a masterpiece. Also, being influenced by the Classical Era, he depicted David in contrapposto pose, a staple of that time period.

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Michelangelo, David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17’ high. 

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Michelangelo, David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17’ high. 

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While using a marble block that was not considered structurally sound from another artist, Michelangelo was able to create another Renaissance masterpiece. Unlike many depictions, he showed David as a strong, muscular man who is deemed to be brave. He is able to depict the veins in his hand, the muscles in his body, as well as accurate human anatomy. He is also inspired from the Classical Era, as this figure stands in contrapposto. This is considered by many, one of the greatest sculptures of all time, which shows the expertise of Michelangelo. His hair also shows the details of his sculpting technique, as David’s curls are visible.

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Michelangelo Buonarroti, Pietà, ca. 1498–1500. Marble, 5’8.5’’ high. Saint Peter’s, Vatican City, Rome

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Michelangelo Buonarroti, Pietà, ca. 1498–1500. Marble, 5’8.5’’ high. Saint Peter’s, Vatican City, Rome

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Michelangelo’s Pieta is one of the most notable Renaissance masterpiece. In this work, he is able to depict the theme of “piety” as Mary holds Jesus’ lifeless body. While he was not the first artist to depict this image, as it originated in Germany, he was able to truly make this remarkable image of both Jesus and Mary. In this sculpture, Mary’s veil is almost visible as a cloth-like material, as well as her facial expression. We are able to notice the emotion that he expressed from his sculpture and also the close details regarding the body of Jesus. Mary’s eyes are the most visible feature of emotion that is apparent in this work, as he was able to portray the sadness that she had at that moment.