Michelangelo Buonarroti.Madonna of Bruges. 1501-1504 Madonna di Bruges
Height 128. Church of Our Lady, Bruges
“Madonna of Bruges” is a marble statue of the Madonna and Child Christ, 128 cm high, made by Michelangelo Buonarroti in 1501-04. shortly after the completion of the Vatican Pietà. This is the only statue of Michelangelo, which, during his lifetime, was taken from Italy to decorate the Church of Notre Dame in the city of Bruges.
The composition was commissioned from Michelangelo by Cardinal Piccolomini. But during the work, disagreements arose. Michelangelo fundamentally wanted to sculpt the baby Jesus naked, while the cardinal considered this unacceptable.
Disagreements led to the cardinal apparently abandoning the sculpture...
A merchant from Bruges, Mouscron (Moscheroni), who once visited Michelangelo in his workshop, decided to buy the sculpture. Michelangelo did not want the sculpture to leave Italy and set an incredibly high price for those times of 100 ducats, but the merchant paid. At the end of 1506, the sculpture was transported to Bruges.
The statue, probably originally intended for a church altar, departs in many respects from church canons. Madonna does not hug her son to her and does not even look at him, her gaze is directed to the side, as if the fate destined for him had been revealed to her. Christ, it seems, is ready to leave his mother and enter the world of people.
In this modest work, which reveals a line of images in Michelangelo’s work, marked by features of a peculiar lyricism, Madonna herself is especially attractive, in which classical beauty and inner strength personalities are combined with soft poetry and nobility. You can feel the hand of the master who sculpted the Roman Pietà in it.
The Madonna and Child from Bruges is one of Michelangelo's most beautiful and spiritual Madonnas. A sad woman, chosen and doomed, she foresees her son's suffering on the cross. Her gaze is directed into the distance, an expression of inescapable sadness is frozen on her face. The Baby, cheerful and inquisitive, with a large curly head, evokes completely different feelings. With her childish spontaneity and serenity, she seems to emphasize the immensity of her mother’s future grief.
STONE IRVING.
“That’s why she resisted, did not want to let go of this beautiful, strong and agile boy, who grabbed her protecting hand with his little hand. And that’s why she covered her son with the edge of her cloak. The boy, sensing his mother’s mood, also had sadness hidden in his eyes.
He was full of strength and courage, soon he would jump off his mother’s lap and leave this safe refuge, but now, at this moment, he grabbed his mother’s hand with one hand and pressed the other to her thigh. Perhaps he is thinking now about her, about his mother, saddened by the inevitable separation: her son, so trustingly clinging to his knees, will soon wander in the world alone.” Stone Irving.
The master no longer idealized Mary’s face, as in early works. Having created the Roman “Pieta” and “David”, he is looking for feeling, believability: modest clothes with flowing folds outline the strong body of a young mother, a face with heavy eyelids from unshed tears, a long nose, thick hair in a simple hairstyle, covered with a heavy hood, as this piece recalls the Pietà.
The baby's body, although childish, gives a feeling of hidden power, but is childishly cute - plump cheeks and chin, curly head. At his mother’s knees, holding her hand, he feels protected and ready to explore the world. The position of the bodies of the sculptural group is very natural - what could be more plausible than the Mother and Child from Bruges?
Since Bruges is now an absolute tourist destination, the city is trying in every possible way to maintain this image. Sights are everywhere!
But there is also a real relic here, which the city was lucky enough to receive back in 1506. Many people come here to see it!
Madonna of Bruges, Michelangelo
...At that time Bruges was flourishing. Very rich people lived here. One of them, the merchant Mouscron (Italian Moscheroni), once visited Michelangelo in his workshop.
Moscheroni had a clear idea of what the Virgin should look like. I repeat, the city was rich and at every step it was decorated with statues, luxurious temples (which local residents were considered small, regional churches), many painters lived and worked in the city. Therefore, Moscheroni was a fairly art-savvy person.
But when he saw this marble statue, he was shocked and immediately decided to buy it from Michelangelo.
Features of the sculpture of the Madonna in Bruges
...Here it is necessary to make a digression.
The composition was commissioned from Michelangelo by Cardinal Piccolomini. But during the work, disagreements arose. Michelangelo fundamentally wanted to sculpt the baby Jesus naked, while the cardinal considered this unacceptable.
Disagreements led to the cardinal apparently abandoning the sculpture...
What shocked the Brugger merchant so much and disgusted the cardinal?
Those sculptures of the Mother of God that Moscheroni saw in his life met all religious canons. They were modest, draped with many folds, under which the outlines of the bodies could not even be discerned, sad. The Madonna who amazed the merchant in Michelangelo's workshop was alive! Yes, her face expressed sadness, but it was living sadness! The sculpture seemed to be breathing. There was strength in her!
The Madonna deviated from the generally accepted church canons of that time: the Mother of God, pensive, as if immersed in her thoughts, does not hug her son to her, her gaze is directed to the side. The classical beauty of her young face is marked by subtle poetry, lyricism and deep sorrow.
Madonna of Bruges, close up
“That’s why she resisted, did not want to let go of this beautiful, strong and agile boy, who grabbed her protecting hand with his little hand. And that’s why she covered her son with the edge of her cloak. The boy, sensing his mother’s mood, also had sadness hidden in his eyes. He was full of strength and courage, soon he would jump off his mother’s lap and leave this safe refuge, but now, at this moment, he grabbed his mother’s hand with one hand and pressed the other to her thigh. Perhaps he is thinking now about her, about his mother, saddened by the inevitable separation: her son, so trustingly clinging to his knees, will soon wander alone in the world.”(Irving Stone, "Torment and Joy")
The first thing that catches the eye of a person who sees this work for the first time and does not know its history is its disproportion. Look how big the baby is standing next to his mother. Why did this happen?
Was the sculptor mistaken?
The fact is that the statue was intended for a niche above the main altar in the chapel of the same cardinal who argued with the master over the nudity of Jesus. The niche was located at a height of 6 meters. Taking this feature into account, Michelangelo changed the proportions of the composition. By the way, for the same reason, Madonna and Child look down.
How did the Madonna sculpture come to Bruges?
None of this bothered the Brugger merchant. And he persistently asked to sell him this work. Michelangelo had his own little quirk: he did not want his works to be outside of Italy.
Therefore, he set a price that was crazy for those times, hoping that the merchant would lag behind him - 100 ducats.
And Moscheroni paid!
But the sculptor did not retreat!
In a letter dated January 13, 1506, Michelangelo asks his father to leave the sculpture in a box, in family home and don't show it to anyone.
Six months later, on August 14, 1506, Giovani Balducci writes from Rome to Florence: “I heard that Francesco del Puglise can send the sculpture to Viareggio and from there to Flanders. If you agree with the shipping price, I ask you to send it to the rightful owners Jan and Alexandre Mouscron in Bruges.”
At the end of 1506, the sculpture was transported to Bruges.
"Madonna and Child" became the only job master who left Italy during his lifetime.
And today this is its marketing “trick”, which is exploited with all its might by enterprising Bruggers!
...The sculpture is located on the right side of the church, and is separated from the entire room by a partition. There is a ticket office at the entrance and for just 3 euros you can enter separate room and enjoy this work of art!
The ticket, of course, is not to the church. Ticket to the museum!
In general, its value, of course, lies elsewhere. “Madonna of Bruges” is one of the most believable, inspired, “living” works of the great Michelangelo.
Sources: own impressions, guide’s story, specialized literature
, who modestly called himself “a sculptor from Florence,” was an artist, an architect, a poet, and a thinker. Each of his works is a synthesis of all his talents, ideal in form and philosophical in content.Tondo Doni from the Uffizi Gallery is the very masterpiece of Michelangelo, where painting becomes almost a sculpture filled with the deepest meaning.
Tondo Doni (or Madonna Doni) is the only non-monumental painting Michelangelo, which is considered completed, and whose authorship is beyond doubt.
A tondo is a piece of painting or sculpture in a round format, about a meter in diameter. Paintings and reliefs in the shape of a circle were extremely common in Florence during the early Renaissance. Throughout the 15th century, the most noticeable and bright artists worked with tondo, traditionally depicting religious subjects on them. Rich Florentines ordered tondos both for their palazzos and as expensive gifts for weddings and holidays.
In 1504, Michelangelo Buonarroti lives and works in Florence. Hishas just been installed in Piazza della Signoria, in the heart of the young republic. The news of the giant statue of a perfectly beautiful naked man spread throughout Europe. And there was no star brighter than Michelangelo!
A young sculptor, originally from Florence, who glorified his city... he became a real celebrity and the most sought-after master. Soon rumors of his genius will reach Pope Julius II himself, who will invite him to Rome with great respect. But for now Michelangelo is inundated with orders from wealthy Florentines: everyone wanted to get his work.
Agnolo Doni could not stay away either. A merchant, a wealthy textile merchant, a philanthropist, a collector of ancient and “modern” art, he was one of the most enlightened, famous and respected people in the city.
In 1504, a magnificent wedding takes place in Florence: Agnolo Doni marries Maddalena Strozzi, a representative of a wealthy family of Florentine bankers.
It is quite possible that it was in honor of this celebration that Doni turned to Michelangelo and ordered from him an image of the Virgin Mary in tondo format, the creation of which is connected with a fascinating story that has come down to us in the “Biographies...” of Giorgio Vasari.
When Michelangelo finished the tondo, he sent him with a messenger to Agnolo's house with a message to receive 70 ducats for it. Doni, a philanthropist and connoisseur of art, immediately realized that Michelangelo's work was so good that it was worth much more. But, being a prudent merchant, he decided that 40 ducats would be enough for the artist, which he handed to the messenger. Agnolo was fully confident that the artist would not dare to argue and bargain with such a powerful and respected person. But Michelangelo, known for his difficult character, became truly furious and sent back 40 ducats, ordering the messenger to return either with the painting or with double the price. Agnolo, already ready for 70, as in the saying about the stingy, was forced to send Michelangelo 140 ducats.
A year later, Agnolo Doni will turn to and will order a double portrait from him with his young wife. And you must agree, Raphael perfectly conveyed the character of Agnolo Doni, this smart but calculating Florentine.
What amazed Agnolo Doni so much, who was ready even for double the price?
Michelangelo places an intimate family scene in the center of the composition: the Virgin Mary hands over her son, the baby Jesus Christ, to Joseph.
A description by Giorgio Vasari has been preserved: “Here Michelangelo expresses in the turn of the head of the mother of Christ and in her eyes, fixed on the highest beauty of her son, his wonderful satisfaction and excitement<…>But since this was not enough for Michelangelo to show in yet to a greater extent the greatness of his art, he painted many naked bodies against the background of this work - leaning, standing upright and sitting, and he finished this whole thing so carefully and so cleanly that of all his paintings on the tree, and there are few of them, it is rightly considered the most complete and the most beautiful.”
The Holy Family is separated by a small wall, in the background there are naked young men resembling antique statues, so beloved by Michelangelo. And the figurine of the baby John the Baptist is placed in such a way that it seems to connect these scenes.
There are several ways to read this work.
According to one, Tondo Doni is a contrast between the old, pagan world and the new time of Christianity and the coming of the Savior. Perhaps this group of naked people, gathered in a semicircle in the manner of antiquity, are pagans awaiting baptism, the sacrament of which is traditionally associated with the figure of John the Baptist.
And according to another version, naked men symbolize homosexual relationships, which were often attributed to Michelangelo, and which were condemned by the Christian church.
The technique with which Michelangelo completed the work amazed and continues to amaze everyone without exception. An unusually solid composition and rich color scheme make the tondo expressive, bright and unforgettable. It is impossible to believe that its creator did not consider himself an artist at all. On the contrary, Michelangelo did not like painting, considering the chisel and hammer to be his tools.
At the same time, he amazingly managed to work with these very instruments, like a brush (just remember the Pieta). And to paint pictures as if he were carving them out of marble: after all, the naked hands of the Virgin Mary seem completely alive!
The lively plasticity of figures is another unconditional advantage of Tondo Doni. Michelangelo was an artist and sculptor who was extremely attracted to the human body. He was not at all interested in portraying ethereal images. Of course, nude male body movement is the main thing in Michelangelo's art. But even when depicting clothed characters, Mary and Joseph, Michelangelo achieves maximum authenticity of movements and poses. After all, he, who is passionate about anatomy, knows all the secrets and positions of the human body like no other artist.
The Virgin Mary handing over the baby Jesus Christ to Joseph is depicted in an unusual movement. This turn seems to twist the entire composition in a spiral, making it integral and expressive.
Pose of the Virgin, found by Michelangelo, certainly during preparatory work. After all, for each of his projects, Michelangelo made dozens of drawings from life. It was this situation that unusually inspired Raphael Santi, a young and impetuous artist who arrived in Florence at that time, wanting to study with Michelangelo and Leonardo.
Tondo Doni will be an endless source of inspiration for Rafael. He uses this twisting movement in the painting “Entombment”: a girl in this position supports the Virgin Mary, who has fainted from grief.
And years later, in Rome, where Raphael would achieve extraordinary fame, become a leading artist, chief architect of St. Peter's Basilica and keeper of antiquities, he would not forget Tondo Doni. In 1512, he will create the altarpiece “Madonna di Foligno”, and his Jesus Christ will be so similar to the baby from the Tondo Doni. This is how, inspired and entering into dialogue, Raphael expressed his deep admiration for the genius of Michelangelo Buonarroti, “a simple sculptor from Florence.”
Madonna
Brugge
The Madonna and Child was originally one of the sculptures commissioned by Cardinal Francesco Piccolomini for his chapel in Siena. It was supposed to be located in a large niche at a height of nine meters, above the main altar in the Piccolomini family chapel. Thus, the audience had to look at her from bottom to top. This explains some of the disproportion of the sculpture and the downward gaze of the Mother of God and the baby.
But during the work, disagreements arose between the sculptor and the customer. The very principled cardinal wanted to first receive a sketch of the work in order to be sure that the sculpture would not show any liberties in composition and nudity. Michelangelo, however, chose to follow his inner vision and sculpted little Jesus naked.
The sculptor's friend, the banker Giovani Balducci, introduced Michelangelo to his client, an influential merchant from Jan de Mouscron, whose family traded in Flemish cloth in Italy. The latter made a generous offer to pay one hundred ducats for the sculpture.
Since the 13th century, the Flemish city of Bruges had close trade relations with Venice, Florence, Genoa and other Italian cities. One of the main branches of the Medici family bank was located in Bruges.
In a letter dated January 13, 1506, Michelangelo asks his father to leave the sculpture in a box in the family home and not show it to anyone.
On August 14, 1506, Giovanni Balducci writes from Rome to Florence: “I have heard that Francesco del Puglise can send the sculpture to Viareggio, and from there to Flanders. If you agree with the shipping price, I ask you to send it to the rightful owners Jan and Alexandre Mouscron in Bruges.”
In October 1506, the sculpture was transported to Italian city Lucca and then Bruges. “Madonna and Child” was the only work of the master that left Italy during his lifetime.
Thanks to an agreement dated November 23, 1514 and preserved in the city archives of Bruges, it is known that the rector and churchwardens of the Church of Our Lady accepted a luxurious altar and a statue of Our Lady and Child as a gift. In return, donors were given several privileges.
The sculpture was placed in a niche of black marble in the Chapel of the Blessed Sacrament, the brightest and most pleasant part in Bruges.
Columns made of red stone contrast with black marble niches, and in 1768 two side sculptures, allegories: Faith and Hope, by sculptor Peter Peters, were added to the composition.
In front of the altar lies a tombstone restored in 1829, decorated with the family coat of arms of Pieter de Mouscron, son of Jan de Mouscron. According to the inscription on the slab, the altar standing in front of the sculpture was also his gift.
After the attack on the Pieta in St. Peter's Basilica in Rome, during which the maniac damaged the sculpture with a hammer, church authorities decided to protect the sculptural group with bulletproof glass.
Whose works undoubtedly left a mark on history and influenced the development and formation of Western art. In the West it is considered the greatest sculptor, and although he spoke unflatteringly about painting, his frescoes in the Sistine Chapel, “ Last Judgment"and other works helped to find him a place among greatest artists. In addition, Michelangelo was one of the best architects of his time. This list of works includes both sculptures and architectural projects, as well as paintings.
10 Iconic Works by Michelangelo
10. Madonna Doni.
Type: Tondo.
Year of writing: 1507.
Madonna Doni
Angelo Doni, in the early 1500s, commissioned a master to depict the “Family of Saints” in order to later give it to his wife. The master used a round frame (tondo) for the painting.
The Doni Madonna includes the Virgin Mary, St. Joseph, the Christ Child and John the Baptist. Behind are five naked male figures.
9. Bacchus.
Type: Marble statue.
Year of creation: 1497.
This statue was completed by the sculptor at the age of 22. The famous work depicts the Roman god of wine, Bacchus, holding a right hand a glass of wine, and in the left is a tiger skin. Behind him sits a faun who is eating a bunch of grapes. Bacchus is one of two surviving sculptures from Michelangelo's early period in Rome.
8. Madonna of Bruges.
Type: Marble statue.
Year of creation: 1504.
Madonna of Bruges
"Madonna of Bruges" depicts Mary with the child Jesus. In this sculpture, Michelangelo does not adhere to the traditions of depicting this composition. The virgin’s face is distant, she does not look at Christ, as if she knows his future. At this time, the baby goes out into the world without maternal support.
7. Laurentian Library.
Type: Architecture.
Year of creation: 1559.
Laurentian Library
The Laurentian Library was designed by Michelangelo in 1524 for the Church of San Lorenzo in Florence (Italy). The entire structure, including the interior of the premises, was developed by the master in the innovative, at that time, style of mannerism.
This work is one of Michelangelo's most important architectural achievements. It is characterized by innovation and revolutionary ways of using space.
6. Moses.
Type: Marble statue.
Year of creation: 1515.
In 1505, Pope Julius II commissions Michelangelo to work on his tomb. The statue is located in Rome (Church of San Pietro in Vincoli). There is a legend that when the work was completed, Michelangelo hit the right knee of the sculpture with a hammer, as it began to speak, he was so realistic.
Type: Marble statue.
Year of creation: 1499.
The Pieta depicts the Virgin Mary mourning over the body of Jesus after the crucifixion, who lies on her lap. The statue is not based on real ones biblical stories, but still gained popularity in Northern Europe in the Middle Ages.
Buonarroti was only 24 years old at the time of completion of the work, which is now considered one of the world's greatest masterpieces of sculpture.
4. Last Judgment.
Type: fresco painting.
Year of creation: 1541.
Last Judgment
In Western art, “The Last Judgment” is one of the most significant works. Painted on the altar wall of the chapel, it demonstrates the second coming of Christ to earth. Jesus is shown in the center and surrounded by prominent saints who have risen from the dead.
Type: Architecture.
Year of manufacture: 1626.
Located in the Vatican, St. Peter's Basilica is the most... famous work Renaissance architecture. Many people worked on its creation famous masters(including Antonio da Sangallo). Although Michelangelo did not create it from scratch, the cathedral has survived to this day in the form in which it was Buonarroti who conceived it.
2. The creation of Adam.
Type: fresco painting.
Year of creation: 1512.
Keystone of Renaissance painting - The Creation of Adam, located on the ceiling Sistine Chapel, which gave rise to a number of followers and large number parodies.
1. David.
Type: Marble statue.
Year of creation: 1504.
Probably the most famous work Michelangelo's masterpiece sculpture of the biblical character David, who is ready to fight Goliath. The theme of David and Goliath was quite popular in the art of that time. Caravaggio, for example, has three works dedicated to this subject.
The colossal statue, 5.17 meters high, demonstrates Michelangelo's exceptional technical skills as well as the power of symbolic imagination.
10 iconic works Michelangelo updated: October 2, 2017 by: Gleb