(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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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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(e) depicting michelangelo

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