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!
Madonna deviated from the generally accepted church canons of that time: pensive, as if immersed in her thoughts, the Mother of God 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 it 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 Bruges to its rightful owners Jan and Alexandre Mouscron.”
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: personal impressions, guide’s story, specialized literature
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 Child.
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 Bruges to its rightful owners Jan and Alexandre Mouscron.”
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.
Returning to Florence, after "David", Michelangelo created the so-called "Madonna of Bruges" a small (1.27 m high) sculptural group of the Madonna and Child, finishing it in 1504. Subsequently, the statue ended up in the Notre Dame Church in the Dutch city of Bruges.
By type, this young, gentle, thoughtful Madonna resembles Madonna "Lamentations of Christ" from St. Peter's Cathedral. However, on this basin, the sculptor sculpted a more traditional composition, depicting Jesus in the form of a Child. 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 "Pieta".
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.
“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.” Stone Irving.
The Virgin Mary turned out to be alive and believable, tender and pure. One moment more, and the eyelids will tremble, the hand will pick up the child, the chest will inhale. She is alive, she feels. 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?
David (1501-1504)
“Some of his friends wrote to him from Florence asking him to come there, because the marble that lay spoiled in the care of the cathedral should not be missed. This marble, Pier Soderini, then appointed gonfaloniere for life of the city, repeatedly offered to transport Leonardo da Vinci, and was now going to hand it over to the master Andrea Contucci of Monte Sansovino, an excellent sculptor who sought it; Michelangelo, who had taken a liking to it many years ago, tried to get it upon his arrival in Florence, although it was difficult to carve a whole statue out of it without adding pieces, and no one but him had the courage to finish it without such additions. Unfortunately, a certain master Simone of Fiesole began to carve a giant from this marble, nine braccia in size, and did it so badly that he made a hole between his legs and ruined and mutilated everything so that the trustees of Santa Maria del Fiore, who were in charge of the work, did not think about it. They gave up on how to complete it, and so it stood for many years and continued to stand. Michelangelo measured it anew, thinking about what kind of sensible statue could be carved from this block, and, having adapted to the pose that Master Simone, who had ruined it, had given it, he decided to beg it from the trustees and Soderini, who gave it to him as a thing unnecessary, believing that whatever he did to her would be better than that the state in which it was then, because if you break it into pieces or leave it in a damaged state, it will still be of no use for construction. Therefore, Michelangelo fashioned a model in wax, planning to depict in it, as a palace emblem, young David with a sling in his hand, so that, just as David defended his people and ruled them justly, the rulers of this city would courageously defend them and rule them justly. He began work in the trusteeship of Santa Maria del Fiore, where he fenced off a space around the block against the wall and, working on it incessantly so that no one could see it, he brought the marble to the last perfection.
The marble had already been damaged and mutilated by Master Simone, and in some places there was not enough of it to enable Michelangelo to do what he intended; on the. on the surface of the marble he had to leave the first cuts of Master Simone, so that even now some of them are visible, and, of course, Michelangelo performed a real miracle, reviving what was dead.
Upon completion, the statue turned out to be so huge that debate began about how to deliver it to the Piazza della Signoria. And then Giuliano da Sangallo and his brother Antonio arranged a very strong wooden tower, to which the statue was hung on ropes so that when pushed it would not be damaged, but would sway evenly; they dragged it on ropes using winches along smooth logs and, moving it, put it in place. The rope loop on which the statue hung slid very easily and tightened under the pressure of gravity: it was invented so beautifully and ingeniously that I keep my own drawing in our Book as something wonderful, reliable and durable for tying weights together.
Meanwhile, it so happened that Pier Soderini, looking up at the statue, which he liked very much, said to Michelangelo, who at that time was finishing it here and there, that, in his opinion, its nose was large:
Michelangelo, noticing that the Gonfaloniere was standing right under the giant and his point of view was deceiving him, climbed onto the scaffold at the shoulders of the statue to please him and, prying up some marble dust from the platform of the scaffold with the chisel he held in his left hand, began to gradually sprinkle the dust down, working as if with other incisors, but without touching the nose. Then, bending over to the gonfaloniere, who was watching him, he said: “Come on, look at him now.” “Now I like it better,” said the Gonfalonier, “you have revived him.” Michelangelo then descended from the bridge, silently laughing at him and feeling sorry for people who, wanting to show themselves as experts, say things that they themselves do not understand. When the statue was finally installed, he opened it, and truly this creation eclipsed all known statues, new and ancient, whether Greek or Roman; and it can be said that neither the Roman Marforius, nor the Tiber or Nile Belvedere, nor the giants from Montecavallo can in any way compare with it: Michelangelo finished it with such proportionality and beauty, with such good quality. For the outlines of her legs are highest degree beautiful, and the conjugation and harmony of the hips are divine, and such a graceful pose has never been seen, no grace, incomparable with anything, no arms, no legs, no head, which would so correspond to each member of this body with their goodness, their skill and their consistency, not to mention their design. And, really, anyone who saw this should not look at any sculpture by any master of ours or other times.” Vasari.
Colossal statue of David (1501-1504, Florence, Art Academy) height approx. 5 m, together with the base, gives rise to the idea of formidable strength (contemporaries called this feature of Michelangelo’s works terribilita), of a heroic impulse restrained by a powerful tension of will. The colossal figure was supposed to stand at the cathedral.
"David" became one of the most famous works Italian Renaissance. This statue was already perceived by contemporaries as a symbol of the Florentine Republic. Vasari wrote that Michelangelo “created David as a sign that he protected his people and ruled them justly, so the rulers of the city should courageously protect them and govern them justly.” It is no coincidence that the opening of the statue in 1504 became a solemn event for the entire city.
In David, Michelangelo coped with a very difficult task - creating a statue from a marble block that had already been damaged in the 15th century, and of a complex shape. And he did it brilliantly. Here his excellent ability to extract maximum expressiveness from stone was demonstrated. Later he formulated this in one of his sonnets: the work is already embedded in the stone itself, you just need to be able to extract it from there.
Several decades ago, a huge block of marble was quarried in Carrara, which lay in the courtyard of the Church of Santa Maria del Fiore, intended for a colossal statue of the biblical hero David. The block was nine feet high. On August 16, 1501, a treaty was concluded. The sculptor spoke for two years, counting from September 1. On Monday, September 13, early in the morning, Michelangelo began work. Michelangelo prepared more than a hundred sketches of the future statue, made a small clay model, which he poured into containers with milk, with the help of which he determined the sequence of work on the marble block.
Due to severe damage to the marble, it was necessary to mark the future statue extremely accurately, down to the centimeter. First the master carved left hand David. One arm of the giant figure had to be depicted bent at the elbow - due to potholes in the marble block.
4 months after the start of intense work on “David,” the Tuscan winter arrived; wind, snow and rain made Michelangelo’s work difficult; he had to forge instruments that quickly became dull from intense work. But Michelangelo could not afford to rest, often even sleeping at night at his workplace. According to Vasari, anyone who allows himself a break from work in Florence is doomed to oblivion, the air was so filled with the desire for fame and the thirst for recognition, competition among the masters was very high. Unrest and unrest in Florence interfered from time to time proper operation, and the statue was completed only in 1504.
They say that after finishing the statue, Michelangelo decorated it with a crown of sheet copper. This was not unusual at the time, many antique statues, which served as a source of inspiration for the Renaissance masters, were covered in gold or brightly decorated.
The image of David was traditional in Florence. Donatello and Verrocchio created bronze sculptures of a young man miraculously slaying a giant whose head lies at his feet. Michelangelo depicted David not as a fragile teenager trampling on the severed head of Goliath, as the masters of the 15th century did, but as a beautiful, athletic giant in the moment before battle, full of confidence and formidable strength (contemporaries called it terribilita - terrifying). In contrast, Michelangelo depicted the moment preceding the fight. David stands with a sling thrown over his shoulder, clutching a stone in his left hand. The right side of the figure is tense, while the left is slightly relaxed, like an athlete ready for action. The hero of the Old Testament is depicted by Michelangelo as a handsome, muscular, naked young man who looks anxiously into the distance, as if assessing his enemy - Goliath, with whom he has to fight. The lively, intense expression of David's face is characteristic of many of Michelangelo's works - this is a sign of his individual sculptural style.
In “David” the titanism heroized by Michelangelo was revealed. In a beautiful face young hero, in his gaze with which he meets the enemy, we catch that formidable expressiveness that contemporaries considered the integral property of Michelangelo’s creations. Without resorting to strong compositional dynamics or complex movement, the master created a type of hero full of courage, power and readiness for action.
Michelangelo depicts David naked, based on the ancient ideals of human beauty, translating in marble ancient ideas about the correspondence of physical beauty, power and fortitude.
He stands calmly, confident in his rightness and in his impending victory. He has disproportionately large limbs and a heavy head, which emphasizes the youthful nature of his physique. A beautiful, courageous face is marked with the stamp of extraordinary nobility, a powerful torso and superbly modeled arms and legs not only express physical strength, but also emphasize the strength of spirit. David is depicted before the battle with Goliath. He's all concentration and anticipation. After all, nothing has happened yet. Thus, David, Michelangelo is by no means the final solution to the problem of man, but only the formulation of the question - we find the answer to this question in further creativity Michelangelo.
In 1504, the work was completed; on January 25, a commission of experts was convened, at which the question of where to place the statue was discussed. During the commission's discussion of the issue of the statue, Michelangelo and Leonardo da Vinci met for the first time. This was not a convenient moment for a friendly meeting. Leonardo was over 50 years old at this time, he had already created " last supper" and "Mona Lisa" and lost primacy in sculpture to Michelangelo. Da Vinci's only rival, Michelangelo, was not even 26 years old at that time. His “David,” as his contemporaries put it, “even the ignorant were amazed.” At the request of Michelangelo, they decided to place it at the entrance to the Palazzo Signoria, where it stood for three centuries.
The installation of this statue had a special political significance: at this time, at the very beginning of the 16th century, the Florentine Republic, having expelled its internal tyrants, the Medici family, was determined to resist the enemies that threatened it from within and without. They wanted to believe that little Florence could win, just as the once young, peaceful shepherd David defeated the giant Goliath.
The transfer of the colossal statue from the workshop and its installation in front of the Palazzo Vecchio, the seat of the authorities of the Florentine Republic, turns into a solemn event. It took three days to deliver the marble giant to its destination. It is unknown why stones were thrown at the marble giant. Perhaps it was the work of individual vandals. According to another version, the attack was organized by supporters of the Medici family in protest against the symbol of power of the new republican government.
After the statue was installed in its permanent place, Michelangelo probably carried out the final work, applying the finishing touches, polishing the surface of the “skin” to a mirror shine. Finally, all the work was completed. By the beginning of September, it was time to unveil the statue on which Michelangelo spent three years of tireless work.
The opening of the David took place on September 8, and the Florentines were shocked by the completed view. The statue of David brought Michelangelo fame and established his reputation as the first sculptor of Italy. With this statue, Michelangelo proved to his fellow citizens that he not only surpassed all contemporary artists, but also the masters of antiquity. If until now the name of Michelangelo was known throughout Italy, after the completion of David he was proclaimed the greatest of Italian sculptors, and Michelangelo rightfully retained this title until the end of his life.
In 1873, the statue of David had to be moved to the Florence Academy of Fine Arts to protect it from the destructive effects of wind, rain and sun. Since then, an exact copy of the masterpiece has stood in its original place.
"Lamentation of Christ", or "Pieta" (c. 1498-1500)
Arriving in Rome in 1496, two years later Michelangelo received an order for a statue of the Virgin and Christ. He sculpted an incomparable sculptural group, including the figure of the Mother of God grieving over the body of the Savior taken down from the cross. Undoubtedly, this work indicates the beginning of the master’s creative maturity. The Lamentation of Christ group was originally intended for the Chapel of the Virgin Mary in St. Peter's Basilica in Rome, and is still located in St. Peter's Basilica, in the first chapel on the right.
The order for the sculptural group was received thanks to the guarantee of the banker Jacopo Galli, who acquired the statue of “Bacchus” and some other works by Michelangelo for his collection. The contract was concluded on August 26, 1498, the customer was the French cardinal Jean de Villiers Fesanzac. According to the contract, the master was obliged to complete the work in a year, and received 450 ducats for it. The work was completed around 1500, after the death of the cardinal, who died in 1498. Perhaps this marble group was originally intended for the future tomb of the customer. By the time the Lamentation of Christ ended, Michelangelo was only 25 years old.
The contract contains the words of the guarantor, “I, Jacopo Galli, promise your Eminence that the above-mentioned Michelangelo will complete the work you need within a year and that it will be best work made of marble that exists today, and that no master today can make it better.”. Time has confirmed the words of Galli, who turned out to be a far-sighted and subtle connoisseur of art. “The Lamentation of Christ” still has an irresistible effect with its perfection and depth of artistic solution.
This grand order opens new stage in the life of a young sculptor. He opened his own workshop and hired a team of assistants. During this period, he repeatedly visited the Karr quarries, where he himself chose marble blocks for his future sculptures. For the “Pieta” a short but fairly wide block of marble was required, since according to his plan, the body of her adult Son was placed on the lap of the Virgin Mary.
This composition became key work the early Roman period of Michelangelo's work, marking the beginning of the High Renaissance in Italian plastic arts. Some researchers compare the meaning of the marble group “Lamentation of Christ” with the meaning of the famous “Madonna in the Grotto” by Leonardo da Vinci, which opens the same stage in painting.
“... These things aroused the desire of Cardinal St. Dionysius, called the French Cardinal of Rouen, to leave, through the medium of an artist so rare, a worthy memory of himself in a city so famous, and he ordered him a marble, entirely round sculpture with the lamentation of Christ, which upon its completion was placed in St. Peter's Cathedral in the chapel of the Virgin Mary, healer of fever, where there used to be a temple of Mars. Let it never occur to any sculptor, even if he were a rare artist, the thought that he could add something to such a design and to such grace and through his labors could someday achieve such subtlety and purity and cut marble with such skill as Michelangelo showed in this thing, for in it all the power and all the possibilities inherent in art are revealed. Among the beauties here, in addition to the divinely made robes, the deceased Christ attracts attention; and let it not even occur to anyone to see a naked body made so skillfully, with such beautiful limbs, with the muscles, vessels, and veins dressing its frame so finely trimmed, or to see a dead man more similar to a dead man than this dead man. Here is the most tender expression of the face, and a certain consistency in the binding and pairing of the arms, and in the connection of the torso and legs, and such a treatment of the blood vessels that you are truly thrown into amazement how the artist’s hand could, in the shortest possible time, so divinely and impeccably create such a wondrous thing; and, of course, it is a miracle that a stone, initially devoid of any form, could ever be brought to that perfection that nature has difficulty imparting to flesh.
Michelangelo put so much love and work into this creation that only on it (which he did not do in his other works) he wrote his name along the belt tightening the chest of the Mother of God; it turned out that one day Michelangelo, approaching the place where the work was placed, saw there big number visitors from Lombardy, who praised her greatly, and when one of them turned to the other with the question of who did it, he replied: “Our Milanese Gobbo.” Michelangelo remained silent, and it seemed at least strange to him that his works were attributed to another. One night he locked himself there with a lamp, taking the chisels with him, and carved his name on the sculpture. And truly she is as one most beautiful poet said about her, as if addressing a real and living figure:
Dignity and beauty
And sorrow: you will groan over this marble!
He is dead, having lived, and taken down from the cross
Beware of raising your songs,
So as not to call from the dead until the time comes
The one who accepted grief alone
For everyone who is our master,
You are now father, husband and son,
O you, his wife, and mother, and daughter." Vasari.
This beautiful marble sculpture remains to this day a monument to the full maturity of the artist’s talent. Sculpted in marble, this sculptural group amazes with its bold handling of traditional iconography, the humanity of the created images, and high craftsmanship. This is one of the most famous works in the history of world art.
“And it was not for nothing that he acquired the greatest glory for himself, and although some, after all, but still ignorant people say that his Mother of God is too young, have they not noticed or do they not know that virgins who have not been disgraced in any way hold back for a long time and keep their facial expression undistorted, but in those burdened with grief, as Christ was, the opposite is observed? Why such a work brought his talent more honor and glory than all the previous ones taken together.” Vasari.
The young Mary is depicted with the dead Christ on her lap, an image borrowed from northern European art. The earliest versions of the Pieta also included the figures of St. John the Baptist and Mary Magdalene. Michelangelo, however, limited himself to two key figures - the Virgin and Christ. Some researchers suggest that Michelangelo depicted himself and his mother in the sculptural group, who died when he was only six years old. Art historians note that his Virgin Mary is as young as the sculptor’s mother at the time of her death.
The theme of mourning Christ was popular in both Gothic art and the Renaissance, but here it is treated rather restrainedly. Gothic knew two types of such mourning: either with the participation of the young Mary, whose ideally beautiful face is not able to darken the grief that befell her, or with the elderly Mother of God, gripped by terrible, heartbreaking despair. Michelangelo in his group decisively departs from the usual attitudes. He depicted Mary as young, but at the same time she is infinitely far from the conventional beauty and emotional immobility of Gothic Madonnas of this type. Her feeling is a living human experience, embodied with such depth and richness of shades that here for the first time we can talk about introducing a psychological element into the image. 3 and the young mother’s external restraint reveals the full depth of her grief; the mournful silhouette of a bowed head, a hand gesture that sounds like a tragic questioning, everything adds up to an image of enlightened grief.
Mary's look is not so sad as it is solemn. This highest point the work of the young Michelangelo. In the image of the Madonna, young and beautiful, a huge human feeling is conveyed with amazing power - the grief of a mother for her lost son. According to the subtle observation of V. Lazarev “Her beautiful face breathes sorrow, but there is not a shadow of despair in it. She perceives the death of her son as the fulfillment of what was destined by fate. And her grief is so immeasurable and great that it grows from personal grief into the grief of all humanity.”.
Death and the sorrow that accompanies it seem to be contained in the marble from which the sculpture is made. The relationship of the figures is such that they form a low triangle, or more precisely, a conical structure. The naked body of Christ contrasts with the lush, rich in chiaroscuro clothes of the Mother of God. Michelangelo depicted the Virgin Mary as young, as if she were not Mother and Son, but a sister mourning the untimely death of her brother. Idealization of this kind was used by Leonardo da Vinci and other artists. In addition, Michelangelo was an ardent admirer of Dante. At the beginning of St. Bernard's prayer in the last canzone Divine Comedy it says: “Vergine Madre, figlia del tuo figlio” - "Our Lady, daughter of her Son". The sculptor found perfect way to express this deep theological thought in stone.
The heaviness of the hood of the Virgin Mary, forcing her to bow her head down to the hand of Christ lying near her heart, focused the audience’s attention on the dead body stretched out on the mother’s lap. She held her son, securely grabbing him by the shoulders, then leads her gaze to Christ’s body, to his face, his eyes, peacefully closed in deep sleep, to a straight, not so thin nose, to clean and smooth skin on the cheeks, to a curly beard, to a mouth distorted by agony. With her head bowed, the Mother of God looked at her son. All those who see the statues will feel that the dead body of her son lies on her lap with an unbearable weight and that a much greater weight rests on her heart. The figures of the seated Madonna and the dead Christ stretched out on her knees are united into an inextricable whole. The movement of the Madonna is full of naturalness and severity, her bowed head, the beautiful features of a mournful face are framed by the soft folds of the bedspread. The questioning gesture of her left hand is expressive. It contains both despair and question. She seems to refuse to believe in an irreparable loss. The folds of her long robe cascade down. And the rhythm of these folds emphasizes the bend of Christ’s motionless body. The contrast between the lifeless body of Christ and the full life of the Madonna is accurately conveyed.
In this sculptural composition there is still no expression that is characteristic of more later works Michelangelo, however, it makes a strong impression on the viewer, enhanced by the contrast of the grieving living figure and the dead body of Christ. To combine two life-size figures in one sculpture, to place a fully grown man on a woman’s lap - this was a daringly new, unusual step in sculpture, which rejected all previous ideas about the “Lamentation”.
On a sling going over the Madonna's left shoulder, Michelangelo is in the first and last time cut out the signature: "Michelangelo Buonarroti the Florentine performed" .
In his declining years, the master once again turned to this plot, creating a composition "The Descent from the Cross", or "Pieta with Nicodemus", And "Pieta Rondanini".
The stamp of deep inner experience that marks Michelangelo’s “Lamentation of Christ” is apparently associated with the feelings that were evoked in the sculptor by the execution of Savonarola (May 23, 1498). The monk was burned at the stake in the very Florence that idolized him, in the square where his passionate speeches thundered and where the people for whom he lived and died were now sticking nails between the boards in the path of the martyr, who walked barefoot to the fire.
Already after the installation of the Pietà sculptural group in St. Peter's Cathedral, Michelangelo's superiority over other contemporary sculptors became obvious. The name of a hitherto unknown young sculptor thundered throughout Italy and most of Europe. Plaster casts of Jesus' body were sent to various schools and academies, so great was the perfection in finishing the smallest details.
After finishing work on The Lamentation of Christ, Michelangelo received several orders, not so grandiose. The banker Galli entered into a contract with Michelangelo to create an altarpiece for the cardinal's tomb in St. Agostino, but the work was never completed.
By the age of 25, the period of formation of his personality had ended, and he returned to Florence in the prime of all the possibilities that a sculptor can have.
In cities as ancient and untouched by time as Bruges, life is like a dream. Therefore, being in Bruges and dreaming about it are almost the same thing. However, only after getting to know this amazing city in person do you begin to understand why the great aesthetes of the early twentieth century were able to endure life exclusively in Bruges. One of the main attractions of the city, which in itself is one big attraction, is the Cathedral Church of Our Lady. The massive structure, piercing its long spire into the postcard Flemish sky, amazes with its diversity architectural styles, which it has absorbed over the 200-year history of construction.
The history of the Church of Our Lady begins no less in the 9th century, when a small chapel was built outside the city rampart. Then it was replaced romanesque basilica, and construction of the modern Gothic Church of Our Lady began in 1220. However, its 122-meter tower remains to this day the tallest brick building in Belgium. An eclectic mixture of styles is characteristic of all Flemish churches that were built before the second half XVI century. The soaring Gothic exterior of the cathedral blends harmoniously with the interior, designed in Baroque style interspersed with Rococo or Romanesque style. The reasons for this should be sought in the history of iconoclasm, as a result of which it was destroyed interior decoration almost all the churches in those places. They were restored much later, when the world was ruled by Baroque.
Behind the powerful walls of the Church of Our Lady is one of the most beautiful sculptures on earth - the famous “Madonna and Child,” which was created by the great Michelangelo in 1505 and became the only work of the author that left Italy during the creator’s lifetime.
1501-1503. Gallery Vrouwekerk, Bruges. Michelangelo Buonarroti
The height of the sculpture is 128 cm, marble. Michelangelo Buonarroti depicted classic version Our Lady with the Child Christ. This type of idealization has been used by many other artists. In addition, Michelangelo was an ardent admirer of Dante. At the beginning of St. Bernard's prayer in the last canzone of the Divine Comedy it is said: “Vergine Madre, figlia del tuo figlio” - “Our Lady, daughter of her Son.” The sculptor found the ideal way to express this medieval theological thought in stone.
Extraordinary beautiful woman, on whose face one can read the mother’s pain. A mother who knows that in a few years her beloved son will have to atone for the sins of humanity in terrible agony. Truly, only a genius can create so many emotions on a block of icy marble. Michelangelo's sculpture alone deserves to call the Church of Our Lady in Bruges a major Belgian landmark. But the wealth of the Flemish merchants knew no bounds, so here you can also see the magnificent paintings of Peter Paul Rubens decorating the choir. In addition, in the Church of Our Lady there are two of the most luxurious sarcophagi in Europe in the flaming Gothic style, which belong to the last Burgundian rulers of the Valois family - Charles the Bold and his daughter Mary, during whose reign Bruges reached the peak of its greatness.
ALL PHOTOS
Over the weekend, believers in the Church of St. Peter in the small town of Acerra near Naples witnessed an unusual phenomenon.
Many parishioners claim that they allegedly saw the statue suddenly change and move its foot, Tgcom reports.
Moreover, people say that this is not the first such episode. Over the past 15 days, the statue allegedly moved several times, but this was kept silent so that there was time to check it and so as not to make unnecessary noise.
However, many people witnessed the “miracle” over the weekend and the news spread within a few hours. People suffering from various ailments, women, and children immediately rushed to the church. They all reunited in prayer near the statue of the Madonna. People started talking about a miracle.
“I saw her legs moving under her dress, as if she wanted to meet the believers halfway. Her knees moved forward, first the right leg, then the left, so that the folds on the marble dress were smoothed out. This is not an illusion, many saw it,” says one of witnesses.
Over the course of several days, more and more residents of a town located near Naples have become convinced that the figure of the Virgin Mary is moving, and many are ready to swear, first of all, a group of women who, a few days ago, noticed a change in the silhouette of the Virgin Mary while cleaning church premises. Some argue that the statue’s knees are bent in a new way, others say that the bedspread on the Madonna, also made of marble, lies in unusual folds.
The statue of Madonna Acerra is beginning to become a collective phenomenon and a miracle captured by mobile phones, writes Corriere della Sera. Believers proclaim a miracle and, to support their words, constantly take photos, first of all, with the help of mobile phones, in order to document the “changes in position” of the statue (translation on the website Inopressa.ru).
The priest Don Oreste prefers to take a cautious position: “Personally, I didn’t see anything, so I can’t say anything.” However, he immediately warned the bishop of the diocese of Acerra, Giovanni Rinaldi, who had not yet transmitted the information to the Vatican: “Internally I do not believe it, but I will evaluate the documents and evidence in order to decide on the appointment of a commission.”
“In the 27 years that I have been in this city, this is the first time I have heard of such things. I think this phenomenon should be approached with extreme caution, as one treats things that defy understanding,” Bishop of Acerra Don Antonio Riboldi told Mattino.
Don Riboldi explains the increased attention of believers as follows: “There is so much suffering in the world, and people to the greatest extent those predisposed to this want to see a sign of God in what is happening.”
This sensation became so widely known that thousands of believers had already gathered in front of the Church of St. Peter in Acerra. The crowd became simply huge, and firefighters had to close the doors of St. Peter's Church. The believers, however, did not give up, and on Sunday during the midday mass the basilica was crowded with people confident that they were seeing a miracle.
Meanwhile, as RIA Novosti reports with reference to the ANSA agency, on Monday the church was still closed to pilgrims. This was done at the request of the specialists who came here, who decided to calmly examine the statue of the Virgin Mary and understand what happened.
Let us remember that several years ago in Italy small plaster sculptures of Madonnas were crying. The red liquid that poured from the eyes of the figures was taken for examination. Scientists then declared that it was real human blood.
Moreover, the figurines were X-rayed, but no voids or secret mechanisms were found in them.
Less than a month ago in Italy, a statue of Saint Pius, who, according to Italians, knew how to perform miracles during his lifetime and continues to perform them after death, began to cry tears of blood. Until now, the reason for this phenomenon remains a mystery.