Michelangelo, the preeminent Florentine artist held power in his paintbrush, even defying papal authority. This recent
publication presents little-known items about the Renaissance-era rebel and his incredible Sistine Chapel ceiling project. The authors offer details on some of the Chapel’s famed frescoes, exploring elements in the paintings, and providing explanations for their appearance. Throughout the book, these explanations are presented as fact. The thorough research undertaken by the authors appears to substantiate their notions. However, since Michelangelo cannot be asked about his intent, it is difficult to confirm every idea. The authors’ thesis does appear credible. Historical fact appears mixed with hypothesis.
Research by the authors revealed that painting the Sistine Chapel ceiling proved to be a physical and emotional ordeal for Michelangelo. This papal commission prevented the artist from working with his preferred medium, marble. There is the supposition that Michelangelo, in response to his dislike of Pope Julius II and the painting assignment, painted images insulting to the Pope and his family, the della Roveres.
Photos of the works accompany the text. The book’s dimensions are smaller than those of the typical coffee table art volume, limiting the size of the reproductions within. Therefore, some photos hinder the reader’s ability to discern particular details described by the authors. Happily for the authors and the public, relatively recent research, along with modern restoration and cleaning of the Chapel returned color and clarity to the paintings. This more authentic view revealed many of “Michelangelo’s artistic secrets.”
Renaissance artists’ best works contained hidden material, a notion discussed by the authors. Artists whose views differed with tradition needed hidden messages to maintain their patron’s support. Continued financial support depended upon the ignorance of the patron regarding these artistic secrets.
According to the authors, Michelangelo thought that certain scholars would uncover what he hid. Learning the secrets would require knowledge of Kabbalah, Judaic history and Hebrew, which the authors possess. They state that Michelangelo failed to name his ceiling frescoes in an attempt to protect himself. Any possibly appropriate name for the art would have exposed the artist’s unorthodox beliefs, most likely leading to condemnation, verbal reprimand or physical punishment.
Michelangelo’s love of art manifested itself at an early age. Fortunately, this interest was nurtured by his father, not based upon a desire for his child’s happiness, but for monetary reasons. His apprenticeship in an artist workshop brought his family some financial support. Again, fate benefited the artist as he resided in Florence, a cultural center at that time. The authors’ delve into the history of the de’Medici Family, who became important in the artist’s life. Lorenzo had a fondness for Michelangelo, bringing him into the de’Medici home. Education was thought essential to success. One of Michelangelo’s tutors, Pico della Mirandola had considerable knowledge of Kabbalah, as well as Hebrew and Judaism in general. As the authors write, while the city of Rome strove to separate the adherents of Judaism and Christianity, Florentines wanted to bring the two groups together. The authors surmise that this concept influenced Michelangelo and subsequently, the content of his Chapel frescoes.
Filled with history, speculation and detailed analysis, this book removes a veneer of mystery from Michelangelo’s most famous work and offers a new, dynamic way to look at these exquisite paintings.