{Renaissance Sculpture [continued (13)](High Renaissance and Mannerism [continued (3)])[Michelangelo [continued (3)]]}[30th April 1991]

[Redbook9:217-218][19910430:1230m]{Renaissance Sculpture [continued (13)](High Renaissance and Mannerism [continued (3)])[Michelangelo [continued (3)]]}[30th April 1991]

19910430.1230

[continued]

‘The “Pietà”, or “Deposition”, in the museum of the cathedral of Florence dates from around 1550[ce] and may have been intended by Michelangelo for use in his own tomb. The figure of Nicodemus is a self-portrait* and indicates Michelangelo’s deep religious convictions and his growing concern with religion. His final work, the “Rondanini Pietà” (1552-64[ce]), now in the Castello Sforzesco, Milan, is certainly his most personal and most deeply felt expression in sculpture. The artist had almost completely carved the piece when he changed his mind, returned to the block, and drastically reduced the breadth of the figures. He was working on the stome 10 days before he died, and the piece remains unfinished. In its rough state the “Rondanini Pietà” clearly shows that Michelangelo had turned from the rather muscular figure of Christ of his earlier works (as can be seen from the partially detached original right arm) to a more elongated and more dematerialised form.’

**

*(cf Last Judgement?)

[Sistine Chapel altarpiece]

** – ibid [Encyclopaedia Britannica 27: 97]

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