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Hence, the Sistine Chapel by Michelangelo Buonarroti embraces different episodes of Biblical nature in smooth and quite invisible transitions between each scene.
First and foremost, the Sistine Chapel was set for Michelangelo by Pope Julius II and painted on the “chapel’s ceiling which covered a curved surface of about 5,600 square feet” (Somervill 45). At a glance, it is an enormous representation of High Renaissance which inspires by luminous and quite patterned schemes of different paintings divided into different topic, mainly of genesis and God’s creation of Adam. All in all, the Sistine Chapel was commissioned by Pope Julius II to take place in the large Papal Chapel for the religious purposes of Vatican’s clergymen (Lucid Café 1). It was a remarkable order for the Church at large and for Pope Julius II, in particular. Michelangelo urged for something unusual he could reflect on the surface. Once, he even noted the following idea: “I saw the angel in the marble and carved until I set him free” (Lucid Café 1). Thus, before painting the Sistine Chapel, Michelangelo was greatly inspired by a divine impact from above.
The artistic ensemble of the chapel is performed in a fresh renaissance vision of Michelangelo which he nurtured out of his genius. He started working on the chapel in 1508 and finished it in 1512 (Holroyd 35). Thus, Michelangelo followed a sequential flow of ideas which were constantly interrupted by Pope Julius II (Somervill 46). As might be seen, it was madness for the artist, as he could not concentrate more on the art and artistic thought in keeping with the best traditions of High Renaissance. Definitely, he was well influenced by the intangible muse while painting, whereas he was stopped by tangible and insignificant remarks of Pope Julius II.
Needless to say, the work of Michelangelo was the fruit of his entire life. Of course, there were other works of art which Michelangelo created. As
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When Caravaggio painted Penitent Magdalene, he depicted a woman who sat weeping on the floor and his critics missed the aesthetics of understatement in it because the Roman style prevalent in those times was one of overstatement (Warwick and Caravaggio, 94-95).
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