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Michelangelo Buonarroti was one of the most prominent artists of the High Renaissance era. He produced such notable works throughout his long life as painting the ceiling of the Sistine Chapel and contributing his architectural design skills to build St. Peter’s Basilica. Although he was considered a genius in painting, architecture, and even writing poems, he considered himself a sculptor over all creative endeavors. One of his early and most famous sculptures was the Vatican <em>Pieta</em>. Many artist have created their own adaptations of the Pieta in a variety of mediums over the centuries, however Michelangelo’s Vatican <em>Pieta</em> is the most significant interpretation ever produced and is arguably the most prominent Christian image of all time.<!--more--> For those reasons and more Michelangelo’s <em>Pieta</em> should be preserved for future generations.

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Completed in 1499 when Michelangelo was in his mid twenties, the <em>Pieta</em>, which was commissioned by the French cardinal Jean Villiers, is located in St. Peter’s Basilica in Vatican City, Rome. In its most basic description the Pieta depicts the Virgin Mary holding her son Jesus in her lap following his death on the cross. Pieta in translation means “pity” in Italian, you can visually see the emotion in the mothers face in Michelangelo’s remarkable sculpture. It took him only two years to complete this masterpiece and used only one block of marble to create. The statue size of the two forms is larger than life, and according to Michelangelo-gallery website if the Virgin Mary were to stand up she would be around 6 feet 6 inches. Although the piece is unique from other sculptures of the 15<sup>th</sup> century for its lack of proper proportions, Michelangelo used his knowledge of anatomy to perfectly unite this statue with classical form and pyramidal composition.

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During the High Renaissance, Italy was in its “greatest artistic achievement and productivity”, according to the <em>Arts and Humanities Through the Eras </em>article titled <em>The High Renaissance in Italy </em>written by Edward I. Bleiberg<em>. </em>Artists were very prominent people in Italian society and their work was being commissioned by powerful individuals such as kings and popes. The art of this era was also contributed and influenced by the Neoplatonic philosophy ideals spreading through Florence, which is were Michelangelo was born and raised before residing in Rome. He was one of the first artists to use the neoplatonism ideals in his artwork. Bleiberg declares that “Neoplatonism taught that creativity was a sign of humankind's creation in God's likeness […] the artists of the High Renaissance came to be influenced by these ideas. Michelangelo, a student of Neoplatonism in his youth, was particularly quick to point to his achievements in sculpture and painting as the products of divine inspiration. Many patrons agreed, and the notion of the artist as a figure filled with an almost superhuman ability to create became one of the underlying themes of the age (Bleiberg 392).

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Although the high renaissance was significant to the arts, its political outlook was full of tension. During this time the larger powers of Italy were conquering the smaller territories and by the beginning of the 16<sup>th</sup> century there were 5 main powers controlling the nation:  Milan, Florence, the papacy, Venice, and Naples. This created strife between the 5 main leaders because none were dominant enough to prevail over another. This eventually led to French domination and the Italian Wars. Bleiberg writes that “lack of political unity, as well as diplomatic treachery, left open the door for outside invasion. In 1494, France became the first major European power to seek conquests in Italy, and this French invasion touched off a long series of conflicts that became known as the Italian Wars (1494–1530). Eventually every major European power became involved in these wars, as European dynasties tried to press ancient feudal claims to rule parts of Italy.” This concludes that while Italy was making great cultural advancements, also occurring was a period of warfare.

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In 1370 an unknown German artist illustrated their version of the Pieta titled <em>The Röttgen Pietà</em>. This rendition is very different than Michelangelo’s divine creation. The mid 14<sup>th</sup> century sculpture portrayed the suffering of the moment that mother is grieving her tortured child. According to Fiero, author of <em>The Humanistic Tradition </em>this era was influenced by realism and raw emotion which is definitely captured in the <em>Röttgen Pietà. </em>Fiero describes the artist’s details as “a traumatic moment between a despairing Mother and her Son, whose broken torso and elongated arms are as rigid as the wood from which they were carved. This votive sculpture captures the torment of Christ's martyrdom with fierce energy” (Fiero B3 14). Obvious differences in the two pietas are that the <em>Röttgen Pietà </em>was created out of wood and was only 89 cm in height, it would be easier for Michelangelo to incorporate more detail into his beautifully sculpted over sized marble creation. According to the book <em>The Illustrated History of Art </em>by David Piper the Vatican <em>Pieta </em>had a “flawless finish and classicism” and although there is much detail to the anatomy of the two figures, there are minimal wounds to Jesus’ body because Michelangelo wanted to embrace the peace and love of the moment felt by Mary and show the subtle emotion of the instant (Piper 132). In contrast the <em>Röttgen Pietà </em>is illustrated with Jesus’ face in agony and wants to portray the pain and sorrow felt by the anguished mother. One last difference is the creator <em>Röttgen Pietà </em>is unknown, unlike Michelangelo’s <em>Pieta</em> that can never be mistaken as work by another sculptor since this in one of the only pieces he ever signed.

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The Vatican Pieta was Michelangelo’s first important commission; the success of this piece helped him become one of the most significant artists of the High Renaissance. According to Bleiberg’s article it “was immediately recognized for its extreme delicacy and accomplished technique” (Bleiberg 392). His sculpture was to exquisite that influenced many artists that followed, according to the Michelangelo-gallery website “The sculpture was so beautiful that it inspired Giorgio Vasari, an Italian painter and biographer, to comment, “It would be impossible for any craftsman or sculptor no matter how brilliant ever to surpass the grace or design of this work, or try to cut and polish the marble with the skill that Michelangelo displayed.”

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Today Michelangelo’s <em>Pieta</em> is revered as one of the most famous and adored divine sculptures today. Some say its only competition is another sculpture by Michelangelo which is his David. Fiero declares that “Michelangelo's <em>Pietà</em> transformed the late medieval devotional image into a monumental statement on the meaning of Christian sacrifice” (Fiero B3 14). Piper declares that “Christian emotion never has been more perfectly united with classical form. Michelangelo never reached such flawless finish again” (Piper 132). Nonetheless, Michelangelo’s Pieta is truly a masterpiece and a supreme example of romantic art.

Michelangelo’s <em>Pieta</em> is meaningful to me because how classical it is in nature. I agree with other admirers that it has a peaceful and meditative quality to it. I love how realistic and detailed he created the clothing, its drapes beautifully from the two forms. I also think it inspires raw emotion to the viewer, religious or not, Michelangelo captures the moment and relationship of mother and son. It potently illustrates a mother in morning.

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Michelangelo’s <em>Pieta </em>should be preserved for future generations not only because it is one the most famous Christian images/sculptures ever created but also because it chronicles the beginning of Michelangelo Buonarroti’s career as one of the most influential artists of all time and the history of the high renaissance era. It is also unique because it is one of the only pieces he ever signed. This piece has also proven as being a testament to the Christian faith and illustrates the grievances between mother and child in a godly manner.

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Bibliography

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Fiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).

Michelangelo Buonarroti." <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. <em>Gale Virtual Reference Library</em>. Web. 01 Apr. 2011.

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Michelangelo Buonarroti 1475–1564 Italian Artist." <em>Renaissance: An Encyclopedia for Students</em>. Ed. Paul F. Grendler. Vol. 3. New York: Charles Scribner's Sons, 2004. 73-76. <em>Gale Virtual Reference Library</em>. Web. 11 Apr. 2011.

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Michelangelo Buonarroti." <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 11. Detroit: Gale, 2004. 2-5. <em>Gale Virtual Reference Library</em>. Web. 01 Apr. 2011.

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"Pieta - Michelangelo's Pieta Sculpture." <em>Michelangelo Buonarotti Paintings and Biography</em>. 2011. Web. 05 Apr. 2011. &lt;http://www.michelangelo-gallery.com/pieta.aspx&gt;.

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" Piper, David, and Philip Rawson. <em>The Illustrated History of Art</em>. London: Bounty, 2004. Print. Pg 132-135.

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The High Renaissance in Italy." <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 386-398. <em>Gale Virtual Reference Library</em>. Web. 05 Apr. 2011.

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